Advanced Composition Manual

302 ADVANCED COMPOSITION MANUAL By Mark Rudnicki 2011
302 ADVANCED COMPOSITION MANUAL 2
TABLE OF CONTENTS
CHAPTER 1: WRITING AN ENCYCLOPEDIA ARTICLE

..............6 PART 1: INTRODUCTION TO ENCYCLOPEDIAS 1a. PROMPT PART A ....7 1b. PROMPT PART B ............................8 1c. GOALS OF THE ASSIGNMENT.9 1d. WHAT ARE ENCYCLOPEDIAS? ..9 1e. WHY DO WE REFER TO ENCYCLOPEDIAS? ....................9 1f. LOCATING ENCYCLOPEDIAS. WHICH ENCYCLOPEDIAS ARE TRUSTWORTHY? HOW SHOULD WE USE THEM?.9 PART 2: WRITING ENCYCLOPEDIA ARTICLES 1g. WRITING AN ENCYCLOPEDIA ARTICLE: WHAT INFORMATION SHOULD BE INCLUDED IN AN ENCYCLOPEDIA ARTICLE? ..................11 1h. CHOOSING A TOPIC ..............11 1i. LOCATING SOURCES .............11 1j. STRUCTURE .....11 1k. CONTENT .....12 1l. LANGUAGE/USE OF ENGLISH .12 1m. HOW AND WHEN TO QUOTE, PARAPHRASE, AND SUMMARIZE....12 1n. PARAPHRASE, SUMMARY, AND ANALYSIS 13 1o. TIPS FOR WRITING AN ENCYCLOPEDIA ARTICLE .............14 PART 3: SAMPLES AND WRITING GUIDES 1p. STUDENT ENCYCLOPEDIA ANALYSIS SAMPLE 1 15 1q. STUDENT ENCYCLOPEDIA ANALYSIS SAMPLE 2 16 1r. STUDENT SAMPLE ENCYCLOPEDIA ARTICLE SAMPLE 317 1s. STUDENT SAMPLE ENCYCLOPEDIA ARTICLE SAMPLE 420 1t. SAMPLE PROFESSIONAL ENCLYCLOPEDIA ARTICLE 523 1u. SAMPLE PROFESSIONAL ENCLYCLOPEDIA ARTICLE 6...26 1v. PEER REVIEW FORM .30
CHAPTER 2: WRITING A REVIEW (OF AN IMAGINARY TEXT) .32

PART 1: INTRODUCING REVIEWS 2a. PROMPT: FOLDER PART A 33 2b. PROMPT: FOLDER PART B.34 2c. GOALS OF THE ASSIGNMENT...35 2d. WHAT IS A REVIEW?.......................................................................................................35 2e. COMMON ELEMENTS FOUND IN A REVIEW.35 2f. GUIDE TO WRITING A REVIEW.36 2g. WORD CHOICES...36 2h. COMMON ERRORS..36 PART 2: SAMPLE ESSAYS 2i. PERFECT VACUUM BY STANISLAW LEM..37 2j. STUDENT SAMPLE ESSAY #1.37 2k. STUDENT SAMPLE ESSAY #240 2l. STUDENT SAMPLE ESSAY #3.42 2m. STUDENT SAMPLE ESSAY #4...44 2n. PROFESSIONAL SAMPLE ESSAY #5.46 2o. PROFESSIONAL SAMPLE ESSAY #6.47 2p. PROFESSIONAL SAMPLE ESSAY #7.50 2q. PROFESSIONAL SAMPLE ESSAY #8.52 2r. PEER REVIEW FORM54 CHAPTER 3: WRITING AN ANALYSIS .....56 PART 1: RESPONDING TO THE BOOK GLORIOUS by Bernice McFadden 3a. PROMPT PART A ................57 3b. PROMPT PART B.................................58 3c. GOALS OF THE ASSIGNMENT ................59 3d. WHAT IS AN ANALYSIS? APPLYING CONCEPTS TO A TEXT...........................59 3e. STRUCTURE..59 3f. GOOD SOURCES TO USE...................60 3g. WORD CHOICES...61 3h. COMMON ERRORS..61 PART 2: SAMPLE ESSAYS 3i. SAMPLE 1..62 3j. SAMPLE 2..64 3k. SAMPLE 3.....67
302 ADVANCED COMPOSITION MANUAL 4 3l. SAMPLE 4..................70 3m. SAMPLE 573 3n. PEER REVIEW FORMS...77
CHAPTER 4: RESEARCH/GRANT PROPOSALS .....79 PART 1: WRITING A RESEARCH PROPOSAL 4a. PROMPT: FOLDER PART A ..80 4b. PROMPT: FOLDER PART B ..81 4c. GOALS OF THE ASSIGNMENT..82 4d. WHAT IS A GRANT .....82 4e. HOW TO LOCATE A GRANT .82 4f. WHAT IS THE PURPOSE OF A GRANT PROPOSAL ...83 4g. WHT SHOULD A GRANT PROPOSAL CONTAIN ...83 4h. SECTION 1: STATEMENT OF THE PROBLEM ... 84 4i. SECTION 2: BACKGROUND INFORMATION (REVIEW OF THE LITERATURE)....84 4j. SECTION 3: METHODOLOGY ...84 4k. SECTION 4: RESULTS/SIGNIFICANCE OF THE RESEARCH ......84 PART 2: OTHER ELEMENTS OF THE PROPOSAL APPLICATION 4l. COVER LETTER ...85 4m. CV/RESUME ...87 4n. BIBLIOGRAPHY .89 4o. PRESENTATION ..89 PART 3: SAMPLES AND WRITING GUIDES 4p. REVIEW OF THE LITERATURE HANDOUT.90 4q. SAMPLE PROPOSAL #1...92 4r. SAMPLE PROPOSAL #2 ...............94 4s. SAMPLE PROPOSAL #3 ...99 4t. SAMPLE PROPOSAL #4 .104 4u. PEER REVIEW FORM ... 110
CHAPTER 5: LOCATING, DOCUMENTING, CITING AND ANNOTATING SOURCES ..110

PART 1: LOCATING SOURCES 5a. BOOKS.111 5b. JOURNAL ARTICLES....112 PART 2: DOCUMENTATION AND CITATION 5c. APA STYLE GUIDE .... ..114 5d. APA IN-TEXT CITATION .118 5e. MLA STYLE GUIDE ..119 5f. MLA IN-TEXT CITATION .123 5g. ONLINE DOCUMENTATION GUIDES124 PART 3: ANNOTATED BIBLIOGRAPHY 5h. HOW TO WRITE AN ANNOTATED BIBLIOGRAPHY..............................................125
302 ADVANCED COMPOSITION MANUAL 6 CHAPTER 1: WRITING AN ENCYCLOPEDIA ARTICLE PART 1: INTRODUCTION TO ENCYCLOPEDIAS 1a. PROMPT PART A ....7 1b. PROMPT PART B ............................8 1c. GOALS OF THE ASSIGNMENT..9 1d. WHAT ARE ENCYCLOPEDIAS? ....9 1e. WHY DO WE REFER TO ENCYCLOPEDIAS? .....................9 1f. LOCATING ENCYCLOPEDIAS. WHICH ENCYCLOPEDIAS ARE TRUSTWORTHY? HOW SHOULD WE USE THEM? .9 PART 2: WRITING ENCYCLOPEDIA ARTICLES 1g. WRITING AN ENCYCLOPEDIA ARTICLE: WHAT INFORMATION SHOULD BE INCLUDED IN AN ENCYCLOPEDIA ARTICLE? ..................11 1h. CHOOSING A TOPIC ..............11 1i. LOCATING SOURCES .............11 1j. STRUCTURE .....11 1k. CONTENT .....12 1l. LANGUAGE/USE OF ENGLISH ..12 1m. HOW AND WHEN TO QUOTE, PARAPHRASE, AND SUMMARIZE....12 1n. PARAPHRASE, SUMMARY, AND ANALYSIS .13 1o. TIPS FOR WRITING AN ENCYCLOPEDIA ARTICLE .............14 PART 3: SAMPLES AND WRITING GUIDES 1p. STUDENT ENCYCLOPEDIA ANALYSIS SAMPLE 1 15 1q. STUDENT ENCYCLOPEDIA ANALYSIS SAMPLE 2 16 1r. STUDENT SAMPLE ENCYCLOPEDIA ARTICLE SAMPLE 317 1s. STUDENT SAMPLE ENCYCLOPEDIA ARTICLE SAMPLE 420 1t. SAMPLE PROFESSIONAL ENCLYCLOPEDIA ARTICLE 523 1u. SAMPLE PROFESSIONAL ENCLYCLOPEDIA ARTICLE 6...26 1v. PEER REVIEW FORM .30
PART 1: INTRODUCTION TO ENCYCLOPEDIAS

1a. Prompt: Folder Part A REVIEW OF A SPECIALIZED ENCYCLOPEDIA (20 points)
Task:
1. Find a specialized encyclopedia entry relevant to your discipline. You can find some online or in the gmu databases, but you will have the best chance to find a good one in the Fenwick Library or in a university library Reference Section. The Encyclopedia should be a specialized one (e.g. Encyclopedia of Philosophy, Encyclopedia of Modern Art) and not a general one (e.g. Encyclopedia Britannica, Wikipedia). 2. Select a representative article (minimum 750 words in length) from the specialized encyclopedia located in #1. The entry should be about a theory, technique, or movement. Please do not select articles on individuals. 3. Write a review of the encyclopedia article and the encyclopedia (sample outline below). 4. Post it on the assignment page of Blackboard and give a brief presentation in class. Document Length and Design: The essay must be about 600 words, i.e. two pages long. Longer essays will NOT necessarily result in a better grade. Your essay must be double-spaced, one-inch margins, with your name, class section, date, and assignment name (Folder #1 analysis) in the upper right corner. Style: The style and tone of the document should be formal. 1. Avoid using the phrase does a good job; instead tell the reader how the author does a good job. Example: Avoid statements like The author does a good job explaining the material. It is preferable to write something like this The author insightfully explains the abstract concepts in clear, concise language. 2. Also, avoid overusing pronouns as this tends towards a wordy style. 3. Use quotations to support your claims, but do not use too many quotations for a short analysis paper. 4. Lastly, please do not write as if you are simply answering the questions in the outline. I expect a very fluent and well transitioned paper. Please cite using either MLA or APA.
OUTLINE FOR AN EVALUATION OFAN ENCYCLOPEDIA ENTRY This is only a suggested outline; you can arrange it as best fits the subject matter. I. Introduction should include the following A. Name of the Encyclopedia B. Purpose, audience, and subject of the Encyclopedia C. Title of the specific entry D. Authors name E. Basic subject matter of the encyclopedia article F. Your thesis Is the entry effective or ineffective or in between? Does the entry match the purpose of the encyclopedia? II. Evaluation should explore whether the information and presentation is sound or not. Some things to consider in evaluating: Does the entry match the intention/theme of the encyclopedia? Does the author provide sufficient information and a logical development of it? Audience does the author consider the audience? Is it for specialists? For amateurs? For students? Does the author provide further readings? Does the author cite relevant sources? Does the author use the appropriate style and tone for the encyclopedia? How does the entry compare to the wikipedia entry of the same topic. III. Conclusion A. What would the author have to do to improve the entry? B. Final thoughts
1b. Prompt: Folder Part B: WRITE AN ENCYCLOPEDIA ENTRY Contributor Guidelines Task: Your task is to write an encyclopedia entry on a topic relevant to your discipline. The topic can be a movement, theory, era, or technique, but NOT an individual. For example, a psychology major may choose to write an entry on psychoanalysis, a music major on blue notes, etc. Audience: The entry should be written for college level students. Style: Please write in a formal manner that is descriptive and explanatory. Avoid editorializing or polemical argument. The article should be considered as a crystallization of past and present knowledge on your topic. While each entry is brief, it will call for an imaginative and judicious synthesis that only a real expert can deliver. For details of style, please rely on APA which the editor will use for consistency throughout the Encyclopedia. Sources and citation: Please use at least four sources at least three book sources to complete the entry. Please do NOT use web pages/encyclopedias/ reference works/Wikipedia as references for this assignment, only scholarly books and articles! To enhance the conciseness of your writing, please avoid long and numerous quotations from copyrighted works. The Encyclopedia will not include footnotes, but rather a textual citation in parentheses for direct quotations, paraphrasing and a listing of the major references for other material in the "Further Reading " section. In other words, use MLA or APA in text citation. Document Length and Design: The article must be between 1500 and 1800 words (about 5-6 pages). Your essay must be typed, double-spaced, one-inch margins, and your name, class (302AH), date, and Folder #1B in the upper right corner of the first page only. Organization: Entries will consist of a pyramid structure used in most encyclopedias. The introductions first few sentences clearly describe and define the topic and explain why it is important to a central subject of the Encyclopedia. The next sentences provide more basic information about the topic's intellectual context: in fact, many readers may stop here. Succeeding paragraphs proceed logically, treating the topic in more detail. (Example: a biographical entry would list the life dates of the subject, nationality, as well as other basic facts, including why the person is significant to one or more of the Encyclopedias subjects. Further paragraphs would treat the persons life and achievements, often but not necessarily in chronological order.) In general you should give the reader an idea of the history of the concept or topic and the breadth of its relevance to your major discipline. Then the author would trace major developments as well as offer a prognosis for the future if possible or relevant. You should put into your entry the kinds of information you would expect to find if you looked it up in this Encyclopedia. Use examples to clarify concepts and definitions. Make every word count. Headings may be used to organize your content. Further Reading: At the end of your text, you will need to include a list of references that you feel are key to your entrys topic. These can best be thought of as further readings rather than as a traditional bibliography. Items in the Further Reading list should be alphabetized by author. There should be at least the three items that were used to write the article. Please use MLA or APA for the further readings section. Please use either www.easybib.com or http://www.dianahacker.com/resdoc/ to assist you with documentation styles.
1c. GOALS of the assignment (not in any particular order): To learn what reference works are and how to use them effectively; To demonstrate a sound familiarity with a topic in your discipline; To locate relevant and good quality sources (books and articles) to write a descriptive article; To navigate a descriptive article with audience in mind. To maintain focus on a dominant theme or main idea; To write in a formal style that is appropriate to your discipline; To summarize, paraphrase, and quote judiciously, efficiently, and objectively when writing a descriptive article; 8. To locate additional sources through reference works; 9. To cite sources in text and to document correctly; 1d. WHAT ARE ENCYCLOPEDIAS? There are basically two types of encyclopedias: General and Subject (sometimes called specialized) General Encyclopedias are reference works designed for a general audience usually to give concise Information on a topic person, place, thing, historical period etc. Some examples of general encyclopedias are Encyclopedia Britannica, Encyclopedia Americana, Wikipedia. Specialized encyclopedias are reference works designed for professionals or for those who are interested in a specific field. Often the terminology is more specialized than in a general encyclopedia, and the entries tend to be more detailed and substantive. Some examples of specialized encyclopedias are Encyclopedia of Government and Politics, Encyclopedia of Anthropology, International Encyclopedia of Social & Behavioral Sciences, Encyclopedia of International Relations and Global Politics, Encyclopedia of Chemical Biology. 1e. WHY DO WE REFER TO ENCYCLOPEDIAS? To get quick info; To understand something; To get an overview of a research topic, i.e. to decide if a topic is worth pursuing in more depth; The Further Readings at the end of the article may guide us to more in-depth texts; To cross-reference. Check a term or subject we encounter in our research. 1. 2. 3. 4. 5. 6. 7.
1f. LOCATING ENCYCLOPEDIAS. WHICH ENCYCLOPEDIAS ARE TRUSTWORTHY? HOW SHOULD WE USE THEM? It is a very good idea to find a reference work in your field that you find helpful and of high quality. Avoid over relying on Wikipedia; instead find a subject encyclopedia that provides more depth and resources. For example, The Internet Encyclopedia offers more in depth information on its topics than Wikipedia. Please be aware, however, that in advanced level research we do not use an encyclopedia article as a major source for a research paper, but it is a great starting point. Here you can find out all of the basic information and it will help guide the beginning of your research. I would also encourage you to find one in your discipline and not rely on Wikipedia.
Here are some good places to look for specialized reference works in your discipline: Print: GMU Reference section: http://library.gmu.edu/research/encyclopedia.pdf Online: Gale Virtual Reference Library (need gmu username and password): http://go.galegroup.com.mutex.gmu.edu/ps/start.do?p=GVRL&u=viva_gmu&authCount=1 GMU databases: http://furbo.gmu.edu/dbwiz/SPT--AdvancedSearch.php?Q=Y&FK=encyclopedia&RP=10&SR=0
PART 2: WRITING ENCYCLOPEDIA ARTICLES

1g. WRITING AN ENCYCLOEPDIA ARTICLE: WHAT INFORMATION SHOULD BE INCLUDED IN AN ENCYCLOPEDIA ARTICLE? biographical/historical information basic dates and facts; significance of the person, movement, technique, place; influences achievements and contributions impact Further readings where to go to find more detailed information either on a specific aspect or in general.
1h. CHOOSING A TOPIC Choose something specific in your field a movement, era, technique be specific. Be focused in your article. Think of this as a short informative research paper. Make sure you can find information on the subject. Find something somewhat unique.
1i. LOCATING SOURCES Use the library catalogues and databases. Do not use another encyclopedia this is too easy. I want you to gather information from at least three BOOK sources. Please check the chapter on locating sources for more detailed information.
1j. STRUCTURE (SUGGESTED) Title or entry: Encyclopedia Article Authors name: Mark Rudnicki I. Opening paragraph A. succinct identification or definition of the subject. You should begin the entry with the subject of the article. If you are writing on psychoanalysis, the opening should be psychoanalysis is B. summarize the essential information about the subject by stating the importance to the particular field or period of study. II. Body: History/ Theme A. Early period - influences/origins* 1. Fact/works 2. Fact/works B. Middle period* significant developments or contributions C. Late Period* why and how the subject concluded or ended. III. Conclusion what impact does the subject have today? This should not be a traditional closing, but rather bring us up-to date and offer a brief suggestion of what the future may hold. IV Further Readings at least 2 books and one scholarly article APA or MLA style
1k. CONTENT Keep a narrow focus that is relevant to the subject f the encyclopedia. For example, if you are writing about a multitalented artist for a photography encyclopedia, you must focus your attention on his photography not his other artworks. You have to judiciously synthesize the most important information for that particular field. Do not go into great detail on elements that are not important. For example, if you are writing about a well-known psychiatrist, you should focus on his theories and not spend much if any on his grammar school.
1l. LANGUAGE/USE OF ENGLISH Use language that is appropriate to your discipline. You should use a formal style with the assumption that the reader has a foundation in the relevant field of study. Consequently, avoid using you. your, I, and the like, as these tend toward an informal, conversational tone. 1m. HOW AND WHEN TO QUOTE, PARAPHRASE, AND SUMMARIZE
http://writingcenter.gmu.edu/resources-template.php?id=69 Summarizing: Summaries are significantly shorter than the original and take a broad overview of the source material. A summary of someone elses idea must be cited in your text and in your Works Cited page (MLA format) or References page (APA format). Summarize when:

You want to establish background or offer an overview of a topic You want to describe knowledge (from several sources) about a topic You want to determine the main ideas of a single source
Paraphrasing: Paraphrasing is stating an idea in your own words. You must significantly change the wording, phrasing, and sentence structure of the source (not just a few words). Paraphrases must be cited in your text and in your Works Cited page or References page. Paraphrase when:

You want to clarify a short passage from a text You want to avoid overusing quotations You want to explain a point when exact wording isnt important You want to explain the main points of a passage You want to report numerical data or statistics (preferred in APA papers)

Quoting: Quotations are the exact words of an author, copied directly from a source, word for word. Quotations must be cited in your text and in your Works Cited page or References page. Use quotations when:

You want to add the power of an authors words to support your argument You want to disagree with an authors argument You want to highlight particularly eloquent or powerful phrases or passages You are comparing and contrasting specific points of view You want to note the important research that precedes your own
The University Writing Center 2009 | 4400 University Drive MS2G8 | Fairfax, VA 22030 | Tel: 703993-1200 | wcenter@gmu.edu 1n. Paraphrase, Summary, and Analysis http://writingcenter.gmu.edu/resourcestemplate.php?id=3
The distinction between paraphrase, summary, and analysis is central to academic writing, especially to assignments which require critical responses to sources. Paraphrase, summary, and analysis are important at different stages in the writing process:
Paraphrase, which is often the first step, enables the writer to comprehend the explicit content of a source by putting it into his or her own words. Summary, pulling out the main points in the paraphrase, helps the writer to reduce the content of the source to its essential components. Analysis, which relies on the writers own observations and ideas, shows how the components function as parts of a whole (the source itself, the subject which the source addresses, the academic discipline to which the source contributes).
The following examples illustrating the distinction between paraphrase, summary, and analysis are based on a line written by Henry David Thoreau: Still, we live meanly, like ants. Note the content as well as the length of each example. PARAPHRASE: Despite our level of knowledge and civilization, despite our apparent evolution, we continue to live ignoble lives, involved in base and unworthy activities. We scurry about mindlessly, thinking only of providing ourselves with the material necessities of life, without a thought for our intellectual or spiritual well-being. SUMMARY: Thoreau expresses irritated dismay over our failure to rise above material concerns.

ANALYSIS: Thoreaus remark conveys, despite its brevity, a thorough and specific diagnosis of human degradation. The use of still simultaneously expresses continuity in time and rhetorical contrast. The word thus economically evokes the writers frustration over continued adherence to meaningless activity and his sense that human beings ought to know better; knowledge, he implies, ought to derive from experience. The sense of times passage is very subtly played upon by the simile like ants; human beings are compared to the one creature in the world which they should be most unlike if evolution has ensured their imagined superiority. By collapsing the evolutionary poles, Thoreau suggests that human history has simply ingrained certain behavioral patterns and has not in any way freed human beings from unnecessary conventions. Our supposed progress, Thoreau insists, is a myth. The simile further indicts human beings for their misdirected energy: like ants, they scurry about mindlessly, bent only on providing the material necessities of life, paying no attention to their spiritual or intellectual natures. The irritation expressed in still combines with the implicit insult of the simile as a sweeping attack on human unconsciousness. However, the dismissal that might be conveyed by the attack is undermined by the first-person plural pronoun: by using we instead of you or they, Thoreau assumes membership in the group he attacks, and thus indicates that his goal in the essay is to challenge human complacency all human complacency, including his ownby calling into question our habitual patterns of behavior and our conventional notions of responsibility and value. The University Writing Center 2009 | 4400 University Drive MS2G8 | Fairfax, VA 22030 | Tel: 703993-1200 | wcenter@gmu.edu 1o. TIPS FOR WRITING AN ENCYCLOPEDIA ARTICLE Spend at least 4 to 5 hours in the library looking for good sources. Too often we give up after only a brief online search. Spend time searching the Internet, searching the library shelves, searching the databases. Do not use other encyclopedias as references for your article. This defeats the purpose of the assignment. Try to group together focal points and or major transitions. Develop a logical structure whether chronological or thematic. Write an outline first. This will help maintain focus. Use headings to narrow your topic and make sure you are concentrating on the most important items. Cite all of your sources. Since this is an exercise in summary, you will have many citations in your text.
PART 3: SAMPLE ESSAYS

1p. Sample Analysis #1: Theatre Encyclopedia Article Analysis
Within The World Encyclopedia of Contemporary Theatre, the article Japan: Theatre for Young Audiences and Puppet Theatre makes up one section of the encyclopedias overview of Japanese theatre. Written by Ogawa Nobuo and Koshiro Uno, the article provides clear, specific, objective information on these two areas of contemporary Japanese theatre but suffers from several shortcomings in balance and detail of coverage. According to the introduction, The World Encyclopedia seeks to provide theatre professionals with clear, basic information on the theatre of each country covered; the material should be enough to give a reader unfamiliar with the countrys theatre a basic understanding of the development of the art form and its national context (Rubin 3-9). On the one hand, Nobuo and Unos article achieves this purpose through its care with language and its attention to providing frames of reference for the work mentioned. The piece outlines the chronological development of both Japanese childrens and puppet theatre succinctly and objectively, avoiding biased language while also avoiding bare lists of names and dates. All historical developments, productions, and companies mentioned within the article receive at least a few words of description, enough to give the reader a sense of why they merited inclusion. No description, however, overreaches into the realm of artistic review and opinion; word choices are non-sensationalistic, concrete, nonjudgmental, and avoid unnecessary jargon. As a result, the article reads with immediacy and authority but without calling attention to the authors behind the text. However, while the article provides a readable, accessible overview of the subjects mentioned, it fails to balance its coverage of its two subjects. Childrens theatre receives only one-third of the article enough space to cover chronological development and identify a few major contemporary companies while puppet theatre receives two-thirds of the space. This extra space covers particularly unusual contemporary puppet theatre companies; media explored by contemporary companies; major professional organizations; and major festivals. All of this material, especially the festivals and organizations, could prove useful to a professional reader. Coverage of the two subjects should have been balanced so that both portions received coverage of these subtopics. Further, while The World Encyclopedia specifically states that it asked its contributors to write from their own national perspective (Rubin 4), some treatment of possible international preconceptions still seems warranted. Theatre professionals recognize bunraku, Japanese puppet theatre employing large, doll-like puppets, as one of the major traditional Japanese theatre arts, yet this article mentions bunraku only in passing. Foreign readers may find this omission puzzling and wonder why bunrakus presence or absence in contemporary Japan is not further addressed. While Nobuo and Uno, in Japan: Theatre for Young Audiences and Puppet Theatre, present information with clarity and objectivity and placed in context, the article could have been improved by lengthening or careful editing. Either could have resulted in a more even-handed balance between the topics and could have freed space in which to address foreign perceptions of Japanese theatre. Through these changes, the article could have been made even more useful to its intended audience of foreign professional. Works Cited Nobuo, Ogawa, and Koshiro Uno. Japan: Theatre for Young Audiences and Puppet Theatre. The World Encyclopedia of Contemporary Theatre, vol. 5. Ed. Don Rubin. New York: Routledge, 1998. 241-245.
302 ADVANCED COMPOSITION MANUAL 16 1q. Sample Analysis #2: Local and Regional Anesthesia The field of anesthesia requires a great deal of knowledge and competency. Lisette Hilton describes the role of local anesthetics in the health care field in her article, Anesthesia, local from the Gale Encyclopedia of Nursing and Allied Health. In her entry, she simply explains the basic information regarding the precautions, definitions and possible complications of local and regional anesthetics. Her approach is one that has summarized the information in a clear and simple way for any health student at the college level to comprehend. The Gale Encyclopedia of Nursing and Allied Health is intended for the beginning nursing or allied health student and attempts to bridge the gap between health information designed for laypeople and that for medical professionals. Lisette Hilton has created an entry that falls concisely into the purpose of the encyclopedia. The information that is given is simple enough to follow and she has laid the information out in a logical order. As a nursing student myself, I found the information to be very comprehensive in a discerning manner. She did a good job avoiding going into too much depth when she explained what effects the anesthesia has on the body. Rather then explaining every nerve it affects, she briefly stated the overall result of the drug. The avoidance of difficult medical terms was very well done and she provided definitions for words that are not common knowledge to the average student. Other medical terms were in bold so that it was easy to turn to the dictionary in the back for a definition of the word. The use of bullets to highlight the complications and kinds of procedures anesthesia is used in made it even simpler to read and comprehend. Her resources were provided at the end, but no further readings were suggested. I enjoyed reading this article and have gained a clearer insight into the effects of local and regional anesthesia. This article was very easy for me to read and I think it would benefit any nursing student because of its simple prose and the availability of definitions for medical terms. However, I would suggest that further readings were provided and that these readings were of the same vernacular and schemata as this encyclopedia. References Hilton, Lisette. "Anesthesia, Local." The Gale Encyclopedia of Nursing and Allied Health. 1st ed. 5 vols. Farmington Hills, MI: The Gale Group, 2002.
302 ADVANCED COMPOSITION MANUAL 17 1r.Student Encyclopedia Article Sample #3 Article for the Encyclopedia of Therapy Therapeutic Recreation Therapeutic recreation (TR) is a strategically planned process that focuses on developing cognitive, behavioral and physical skills through recreation and leisure activities. It is planned and implemented by a certified TR therapist and customized to serve the target population or individual with a disability. The goal of TR is to promote health of people with disabilities and improve their quality of life through recreation experiences. History The promotion of personal and community health through recreation may be traced back to ancient times, but TR as a profession was not established until after World War II. In the 1940s and 50s the Red Cross provided a hospital recreation program that served soldiers in military hospitals (Austin, 2004). Similar services were established in the Veterans Administration Hospitals and eventually in state psychiatric hospitals and schools for the mentally ill. In 1948, the first professional organization was created; the Hospital Recreation Section of the American Recreation Society. This institute was founded on the belief of recreation for the sake of recreation, meaning simply the experience of recreation in life is therapeutic (Austin, 2004). Soon thereafter, the National Association of Recreation Therapists formed, which focused on recreation as a method for physical and cognitive rehabilitation. Then in 1952, the Recreation Therapy Section of the American Association for Health, Physical Education, and Recreation was established, with an emphasis in physical activity for health promotion. Thus began the struggle between the different bodies of thought on what qualities constitute recreation as a form of therapy. These organizations did find common ground at the Council for Advancement for Hospital Recreation in 1953 when they established a set of credentials that may qualify a TR therapist. Subsequently, a registration program began in 1956 and ultimately became the basis for the current certification program, established in 1981. (Austin, 2004) Ten years after this certification agreement, the National Therapeutic Recreation Society (NTRS) became the result of a merger of these separate organizations, and attempted to represent the clinical and nonclinical methodologies of recreation through the newly adopted term therapeutic recreation (Austin, 2004). However, the issue over how to define TR continued to be disputed by those who believed in recreation for all versus recreation as a tool for treatment and rehabilitation (Austin, 2004). Finally in 1984, several members of the NTRS broke off to form the American Therapeutic Recreation Association (ATRA) which adopted the clinical, rehabilitation interpretation of TR, while NTRS remained open to multiple interpretations. The amount of recreation opportunities for people with disabilities increased between the 1950s and the late 1980s, including the establishment of the Recreation Center for the Handicapped in 1952, the Special Olympics in 1968, and special recreation districts in the 1970s (Austin, 2004). These types of special programs were the norm until the 1990s, when a major paradigm shift changed the course of TR. With the passage of the Americans with Disabilities Act in 1990 came the opportunity of assimilation, rather than segregation, with the general public. With equal access now available to persons with disabilities to public services,
302 ADVANCED COMPOSITION MANUAL 18 TR has begun to focus on inclusion and normalization. (Austin, 2004) The ability to experience a normal lifestyle by assimilating into general community recreation programs has deeply enhanced the effect of TR on those with disabilities and has taken their quality of life to a whole new level. Models With the development of TR as a profession throughout the 1980s and 1990s came the publication TR practice models. The two most widely used are the Leisure Ability Model and the Self-Determination and Enjoyment Enhancement Model. While both are client centered, they differ in structure and function. The Leisure Ability Model (LAM) was among the first introduced, and is built upon an understanding of the importance of leisure experiences for everyone. Its goal is to promote and maintain an appropriate leisure lifestyle for individuals with physical, mental, emotional or social limitations. (Mobily and Ostiguy, 2004). The LAM emphasizes leisure as a crucial component of a healthy lifestyle and should be attainable to everyone, even those who face barriers to achieve such a fulfilled lifestyle because of a disability. (Mobily and Ostiguy, 2004) This model represents a spectrum that describes the degree of control held by the therapist vs. the client. The service begins with the therapist in control and obligatory participation by the client. Gradually, the control passes from the therapist to the client. This is a sequential progression beginning with functional intervention, progressing to leisure education, and then finally to recreation participation. When the client has claimed responsibility for independently engaging in recreation without the therapist, the goal of a leisure lifestyle is reached. (Mobily and Ostiguy, 2004) The Self-Determination and Enjoyment Enhancement Model (SDEEM) focuses on creating an enjoyable environment that facilitates an improvement in health. Through enhanced enjoyment, clients physical, cognitive, and emotional conditions associated with illness, injury, or chronic disability will improve (Mobily and Ostiguy, 2004). The SDEEM has a circular structure and illustrates that each component has an effect on all the others outcome. Unlike the LAM, this model not only displays the steps for TR but also suggests strategies for each component (Mobily and Ostiguy, 2004). The components of the SDEEM are self-determination, intrinsic motivation, perceptions of manageable challenge, investment of attention, enjoyment, and functional improvement (Mobily and Ostiguy, 2004). Therefore the goal of this model is to promote autonomy, flow, and skill development (Mobily and Ostiguy, 2004). Implementation After choosing a model to program by, a TR therapist then develops a program. Programming is a systematic process that requires research and creativity. An understanding of the disability and its characteristics allows the TR therapist to customize the recreation activities to the clients needs. Then TR therapist outlines the program activities with detailed objectives that need to be met in order to achieve specific goals (Rossman and Schlatter, 2008). The greatest challenge of TR is creating a program conducive to growth and development. Every population, every client, is different, and has different interests. Since TR is a client-based therapy, the therapist must be able to adjust their programs to what will best serve the client. Therefore the client-therapist relationship is the most important aspect of TR (Mobily and Ostiguy, 2004). Not only must the therapist must be able to determine the clients needs, but their personal interests as well. After isolating what skills are to be improved, the
302 ADVANCED COMPOSITION MANUAL 19 therapist must then program activates that both improve the skill and provide enjoyment for the client. This takes a great amount of creativity and innovation. The most effective treatments are yielded from a strong client-therapist relationship because the therapist understands the client so well that they are able to stimulate them mentally, emotionally and physically. That is what makes TR treatments so successful. Application TR may be applied to any population with any kind of disability. It is personalized to meet the needs of the client, improves needed skills, provides a feeling of self-efficacy and gives the client the tools needed to have a fulfilling, leisure lifestyle. TR is extremely adaptable and may be practiced in clinical settings or in the community, or a combination of both (Mobily and Ostiguy, 2004). TR is one of the fastest growing professions in healthcare, and the demand for therapeutic recreation is likely to increase given the expansion of long-term care and physical and psychiatric rehabilitation services for people with disabilities (Mobily and Ostiguy, 2004). TR finds its strength in its holistic view of the client, its multi level impact and its wide range of clients. The future of health care for people with any type of disability lies within the link between social, psychological, and physical health, and that link exists in therapeutic recreation. (Mobily and Ostiguy, 2004) Further Readings Austin, D. R. (2004). Therapeutic Recreation: A Long Past, but a Brief History. Palaestra. Retrieved July 16, 2010, from http://findarticles.com/p/articles/mi_hb6643/is_1_20/ai_n29075923/pg_2/. Austin, D. R. (1997). Therapeutic Recreation : Processes and Techniques. Champaign, Illinois: Sagamore Publishing Inc. Mobily, K. E., Ostiguy, L. J. (2004). Introduction to Therapeutic Recreation: US and Canadian Perspectives. State College, PA: Venture Publishing, Inc. Rossman, R. J., Schlatter, B. E. (2008). Recreation Programming: Designing Leisure Experiences, Fifth Edition. Champaign, Illinois: Sagamore Publishing, L.L.C.
302 ADVANCED COMPOSITION MANUAL 20 1s. Student Encyclopedia Article Sample #4 Homeopathy for the Encyclopedia of Medical Ethics Homeopathy is a form of alternative medicine developed by a German physician named Samuel Hahneman in the late 1700s, based on the Law of Similars and the principle of the minimum dose. The law states: a medicine given in very small doses can cure an ill person, if that medicine can cause those same illness symptoms in a healthy person. The principle of the minimum dose means: a medicine is most effective when administered to a patient in a minimum dose (Chapman, 2004). These two main tenets guide this system of medicine; in how medications are developed and how care is given. This entry first defines Homeopathys main principles, elaborates further on how its remedies are developed and administered, and finally traces its place in society. Throughout history, this form of medicine has and still remains controversial. It is a struggle between two systems: the conventional and the alternative. The winner has not been determined. Principles of Homeopathy Homeopathys main tenet; Similica similibus curenteur, meaning, like cures the like simply means that a substance can cure a disease if it can elicit illness symptoms in a healthy individual (Sukul & Sukul, 2004, p.2). For example, a substance can cure malaria, if it can produce malaria-like symptoms in a healthy individual. While going research on Samuel Cullens work, Hahnemann developed fever after taking small doses cinchoma (Peruvian bark) He also noted that the same substances seemed to reduce fever in sick individuals (Sukul & Sukul, 2004). After testing different substances on himself and other volunteers, Hahnemann recorded his findings in Materia Medica Pura, listing symptoms and the substances that helped alleviate those ailments (2004). To Hahnmann, the cause of disease was a disturbance of a spiritual force or a vital force that is within all organisms. When an individual was sick, it meant that the persons vital force had been overwhelmed by the disease force. The right homeopathic remedy, which was said to be an artificial disease force, got rid of the illness (2004). In treating patients with the different homeopathic medications, physicians look at the totality of the subjective as well as the objective information and then compare those symptoms to a medicine mentioned in Hahnemanns book Materia Medica Pura. There is no specific medicine for a particular disease; the remedy must therefore match exactly to the total set of symptoms (Sukul & Sukul, 2004). Finally, the physician is then to apply the medication to the patient at a very low dose or the minimum dose possible. Homeopathic Remedies Homeopathic remedies are made from natural substances like plants, animals, minerals and diseased parts of humans. 60% of homeopathic medicines come from plant parts like roots, bark, flowers, leaves, fruits and seeds. Animal products account for another 20% of those remedies. The other 20% is comprised of minerals, chemicals and diseased tissues of humans called nasonodes (2004). After the natural substances are collected using a variety of methods, they are made into remedies using the homeopathic ways of mixing the substances. Potentization means that a remedy is made effective through a particular protocol of diluting that substance. The more the substance is diluted, the more powerful it becomes. With succusion, substances are diluted with aqueous ethanol alcohol in successions till very little of the substance is left. Finally, trituration is a method of mixing where substances that normally do not dissolve in alcohol or water are first mixed with lactose (a type of sugar found in milk), and then mixed
302 ADVANCED COMPOSITION MANUAL 21 with alcohol or water to further dilute the substance (2004). After the remedies are developed, they are tested on healthy individuals. A list of the elicited symptoms is made and later used to treat patients. Historical Development of Homeopathy and Its Place in Society Before Homeopathy, conventional medicine was the standard. However, in the 1830s, many grew tired of traditional system of medicine that was thought to include methods that were not only ineffective, but harmful. Before that, medicine had been based on the work of the Scottish physician; Samuel Cullen, whose students John Brown and Benjamin Rush further elaborated his theories and came up with a new theory of disease (Kirschmann, 2004). Disease was caused by too much excitability in the nervous system. To restore balance and thus cure an illness, one needed to use depletive techniques like bloodletting, emetics, and cathartics (Kirschmann, 2004, p. 10). These unscientific forms of treatment, plus the exclusivity of conventional medicine spurred the disdain for conventional medicine. Alternative forms of medicine like Homeopathy were welcomed because they offered some elements conventional medicine did not have (2004). Homeopathy did not use harsh forms of treatment. It offered a holistic approach in treatment, taking into account all the mental and physical conditions of the patient (2004). After Homeopathy was developed by its founder, Samuel Hahnemann, it was introduced in the United States in the early 1820s by German speaking physicians. This form of medicine became very popular among many physicians and patients alike, who were eager to establish this form of medicine as legitimate and to set up institutions where this system of medicine could be learned and practiced (Kirschmann, 2004). In the 1860s, Homeopaths-physicians practicing exclusively homeopathy, accounted for 3 or 4 percent of the 55,000 physicians in the United States (Kirschmann, 2004, p. 7). The numbers kept growing and by the 1890s, 8 percent of all the doctors were homeopaths, with an increasing number being women since homeopathy provided opportunities for women to enter into a medical career (p.7). The struggle to establish Homeopathy as a legitimate form of medicine still persists. Negative Aspects of Homeopathy The most important principle of any real medicine is and must remain: curare et primum nocere meaning to heal and above all not to harm (p. 16). According to some, Homeopathy does not pass this test. It is harmful and ineffective at best. Its cures have not been proven by scientific research, have not been subjected to scientific experiments. Critics of Homeopathy contend that even Hahnemanns basic principle is flawed it its essence. Hahnemans tests on himself and volunteers in attempts to prove his Law of Similars were based on subjective observations and ignored data that conflicted with his thesis. For example when working with a substance that produced symptoms associated with malaria, he noted that the substance did not produce the exact symptom like in malaria, though he did not note this in his Medica Materia Pura. When testing certain substances for his book, Hahnemann had a stumbling block. Some substances like arsenic, mercury, aconite, and strychnine- all very powerful poisons could not be tested on people since some toxic levels had not been determined. However, Hahnemann came up with a solution: the principle of dilution or of minimum dose. This principle of dilution is said to ignore the basic logic. It is a fact that the more a substance is diluted, the less powerful it becomes and thus less able to cure a disease. Abgrall, a critic of homeopathy, states, the law of similarity and that of dilutionlodges homeopathy firmly in the realm of magic (p. 28).
Positive Aspects of Homeopathy From its early roots, Homeopathy has been seen by some as a positive force in society. The 1830s was a time of societal reforms and many began rejected the prevailing system of medicine in favor of Homeopathy. Conventional medicine then, included doctors who learned mainly through apprenticeship and needed no licensing. Because of the unregulated system, ideas like that of Samuel Cullen were allowed to prevail. His methods of treatment were not only ineffective, but also harmful. Homeopathy came into the picture in attempts to remedy the situation by offering medical schools, licensing for its practitioners, and a gentler way to treat patients (Kirschmann, 2004). The same thing came be said about Homeopathy today: it offers an alternative to the current system of medicine by offering what seems to be missing. The number of people choosing Homeopathy is still growing. Patients want to actively participate in the healthcare, seek a closer relationship with their healthcare provider, and desire a system of medicine that takes their whole being into perspective. Homeopathy is said to offer all those things (Milliken, 1998). Synthesis of Thought Although the effectiveness of Homeopathy in treating diseases is still under debate, its popularity still remains. An examination of the positive aspects of this system of medicine is warranted. Its efficacy can be seem in how it has shaped the current system of medicine, challenging the current system improve. Therefore taking those positive elements such as a holistic approach to care and a value of patient-physician relationship and incorporating them into mainstream medicine will improve medicine in general (Bright, 2002). A way to take the best from both systems may benefit everyone. Further Readings Abgrall, Jean-Marie. (2000). Healing or Stealing?: Medical Charlatans in the New Age. New York: Algora Publishing. Bright, Mary-Anne. (2002). Holistic Health and Healing. Philadelphia: F.A. Davis Company. Kirschmann, Anne Taylor. (2004). A Vital Force: Women in American Homeopathy? New Brunswick, N.J.: Rutgers University Press. Milliken, Mary Elizabeth. (1998). Understanding Human Behavior: A Guide for Health Care Providers. Albany: Delmar Healthcare Publishing. Sukul, Nirmal C., & Sukul, Anirban. (2004). High Dilution Effects : Physical and Biochemical Basis. Boston: Kluwer Academic Publishers.
302 ADVANCED COMPOSITION MANUAL 23 1t. Professional Sample Encyclopedia Article Entry #5: Public Art Photography from the Encyclopedia of 20th Century Photography Photography and photographic processes have been utilized in the arena of Public Art beginning with early 20th century documentation projects and continuing today as an effective means of public self-expression. Public art photography encompasses many facets ranging from conceptual and political art, to documentation, to unique works for exhibition, to architectural and place enhancement. Public Art may be defined as art that is created for permanent or temporary installation or exhibition in public locations freely accessible to the community as they go about their daily lives. This in contrast to artwork exhibited for an audience who specifically seeks out viewing opportunities at locations such as museums and galleries. Public Art is generally commissioned with public funds and is typically located in public spaces such as governmental buildings, plazas, parks and city streets, but corporations, arts institutions, and individuals may also place art on public view to create de facto public works. The artwork itself may be installed permanently in, on or near a building or public space, such as a sculpture. Or, the work can be part of a "portable" collection of work, such as photographs and paintings that can be moved among public buildings. Artwork may also be physically integrated into the location, becoming an essential element to the structure, such as an artist-designed floor, wall or landscape. Temporary or ephemeral public artworks may include performances, photographic projections or temporary displays. From its invention up until the period of major growth of Public Art programs in the mid to late 20th century, photography has been primarily utilized within public art as collectable portable artworks or as a medium for documentation. In the 1920s, Soviet artists seized upon the documentary nature of photography to create agitprop, or works meant to sway the masses to a particular political viewpoint. Several significant documentary projects came about in the United States during the Great Depression in the 1930's, under the Federal Government's Works Progress Administration (WPA) program, the Federal Arts Program (FAP) and the Farm Security Administration (FSA). Photographers, along with others in the arts such as painters and writers, were employed by the US Federal Government and given the opportunity to create or teach art for reasonable pay. The government hired the photographers to document the current condition of life in America, including documenting governmental relief and construction programs. Historically, these photographers built upon the distinguished social documentary work of independent photographers throughout the world in the earlier part of the 20th century. Photographer Lewis Hine, with his groundbreaking images of the abysmal working conditions in industrial America, and the subsequent reform that these images helped bring about, is an excellent example of this earlier socially-conscious work. The FSA program employed the photographers to document the life and hardship of rural America during the drought and Great Depression. The program produced a remarkable 270,000 images and included such notable photographers as Dorothea Lange and Walker Evans. The iconic 20th century image, Migrant Mother, Nipomo, California (1936) by Lange was a product
302 ADVANCED COMPOSITION MANUAL 24 of the program. Photographer Berenice Abbott completed another significant project but hers was focused on the urban experience. Funded through the FAP and sponsored by the Museum of the City of New York, Abbott was employed to document New York City in a period of sweeping change during the 1930s. This work culminated in the important portfolio, Changing New York (1939), a collection of 305 images. Contemporary Public Art can be defined as beginning in the post-World War II era when artwork began to be incorporated into new post-war modern buildings and cities throughout the world. In particular, the 1960's and 1970's saw a significant growth of local governmental Public Art programs and interest in Public Art in general. Much of this funding was spurred by the newly created National Endowment for the Arts, one of President Lyndon Johnson's "Great Society" programs. So-called "Percent for the Arts" programs were set up in a number of American cities that by statute called for the setting aside of a percent of the overall budget for the construction of a public building for the purchase and placement of art works. The federal General Services Administration in particular was a pioneer in percent-for-the-arts placements. In this time period, photography as a public art medium was generally still utilized for documentation purposes and collecting of discrete prints. However, the evolution of technology and artists' ingenuity changed this pattern in the 1980s, 1990s and today. Photography is currently being integrated into Public Art on many different levels from large commerciallyproduced digital murals; to source imagery for etched reproductions in glass, metal, stone or tile; to use in traditional commercial and advertising venues; to temporary projects including installations and projections. Photography and the photographic process have become more feasible in Public Art largely through technological advances that have allowed for greater scale opportunities and the utilization of new materials and reproduction techniques that lead to a more permanent image and product. For example, Puerto Rican born artist Pepn Osorio's community-based artwork entitled I have a Story To Tell You (2003) features glass panels incorporating transferred photographic images from the Latino community in Philadelphia. The panels became the walls and roof of a casita (small house) Osorio built in a community health center courtyard as a gathering place. Deborah Wian Whitehouse creates large-scale photographic works using commercial digital printing on vinyl sheets. Her work Spirit of Atlanta (2000), installed at the Atlanta International Airport, highlights diversity and urban life, and measures a remarkable 20 x 70 feet. Artist Ellen Driscoll's large work, As Above, So Below (1993-1999), in New York City's Grand Central Terminal is a mosaic mural she created with source photographic imagery. Advancements in digital photography, through the accessibility of the process, ease of use and relative low cost of image-taking and distribution, has also encouraged the use of photography in Public Art. For example, over the past decade in China, digital photography has helped lead to a major photographic movement and interest in photography in general as a means of public expressionultimately resulting in public exhibits and installations all over the world. An engaging example of recent work from China is artist Chen Shun-Chu's Family Parade (1995 1996). In the work, Shun-Chu created a large installation by covering an abandoned house with hundreds of framed images of his family.
302 ADVANCED COMPOSITION MANUAL 25 Contemporary photographers and artists have also utilized, and some would say exploited, elements that have been traditionally available to the advertising and promotions industry, including billboards, photo light boxes, bus shelters and bus and taxi placards. Many of these artists are specifically critiquing the prevalent advertising medium and how information, and photography, are disseminated in popular culture. Chilean artist Alfredo Jaar frequently utilizes photography in installations including large-scale prints and light boxes. His work, often political, focuses on the exploitation of the Third World by the industrial world. In Rushes (1986), Jaar installed eighty large photographs of Brazilian Indians mining gold in dehumanizing conditions beside the world market price of gold in a New York City Wall Street District subway station. In contrast, Taiwanese artists Pu and Yang Tsong utilized photo light boxes to exhibit tranquil images of nature in their work Musical Skies (1998) at the Memorial Hall Station in Taipei, Taiwan. Artist Krzysztof Wodiczko combines photographic images and the photographic process of slide projection in his ephemeral work. Wodiczko, who was born in Poland and now lives in the United States, has produced his projection installations throughout the world since 1981. Wodiczko's work addresses social and political issues including homelessness, corporate power and the experience of the disenfranchised. The artist chooses the images and the buildings, such as monuments, museums and corporate headquarters, to both engage the viewer and challenge the viewer's own perception and prejudice. His projections may include images of eyes or hands juxtaposed with images of guns, nuclear missiles and money. For a project in 1985 at the Grand Army Plaza in Brooklyn, New York, Wodiczko projected a US nuclear missile and a Soviet nuclear missile chained and locked together. These temporary works are also recorded for history and further reproduction through photographic documentation. Others have successfully worked with projection including American artist Shimon Attie, whose striking work concentrates on the Holocaust and German Jewish history. The intent and use of the photograph varies from artist to artist, from original work created by the artist to the inclusion of appropriated or historical images. The photograph, image or projection can be the final complete artwork or it can be integrated into an overall, larger work. Photography, and evolving and innovative photographic processes, will continue to be a source for artists as they create works to enliven our public buildings, cities, spaces and communities. Jim McDonald See also: Agitprop; Digital Photography; Farm Security Administration; History of Photography: Twentieth-Century Developments; Image Theory: Ideology; Social Representation; Works Progress Administration; Berenice Abbott; Walker Evans; Lewis Hine; Dorothea Lange Further Reading Public Art Review, FORECAST Public Artworks, Saint. Paul, MN (entire serial publication) Sculpture, International Sculpture Center, Washington, DC (entire serial publication) Article taken from - : McDonald, Jim. "Public Art Photography." The Encyclopedia of Twentieth-Century Photography. Ed. Lynne Warren Warren. 3 vols. New York: Routledge, 2005.
302 ADVANCED COMPOSITION MANUAL 26 1u. Professional Sample Encyclopedia Article Entry #6: Gas from the Encyclopedia of Crimes
against Humanity
Since ancient times, use of poison has been considered treacherous and, therefore, incompatible with honorable conduct in war. Yet, the history of mankind is blemished with numerous examples of combatants and civilians falling victim to various kinds of poisonous gases, which not only kill, but burn or paralyze the human body, singe lungs, cause blindness, malformations, cancer, and neuropsychiatric damage, as well as produce permanent genetic mutations persistently affecting the health of the survivors succeeding generations.
Use of gas as a method of warfare The history of the use of gas in the theater of war goes back to the fourth century B.C. when the belligerents in the Peloponnesian War were creating toxic fumes by igniting pitch and sulphur. The subsequent era witnessed the utilization of arsenical smoke in the battles during Chinas Sung Dynasty between 960 and 1279 A.D., the defeat of the city of Belgrade against invading Turks in 1456 through the deployment of a toxic cloud created by inflamed rags dipped in poison, and, above all, the inconceivable atrocities associated with the use of gases in the two World Wars in the twentieth-century, as well as in Iraq-Iran war in the 1980s. Although the extensive development of chemical weapons had become feasible as early as the sixteenth century, it was not until the first large-scale use of poison gas by the German army in the First World War (1914-1918) when the horrors of gassing utterly unveiled. The gas attack was launched in April 1915 on the battlefields near Ypres, Belgium, and claimed as many as 5000 lives and 10.000 casualties. By the end of the war, the deployment of over 100.000 tons of toxic chemicals, such as chlorine, mustard, and phosgene gases, wounded more than one million soldiers and civilians, and resulted in nearly 100.000 ghastly deaths. The ensuing outrage, however, did not prevent the subsequent armed conflicts from the hideousness of gassing. In-between-wars the history noted at least three instances where this weapon was utilized: in 1919, during the Russian Civil War, when the British used Adamsite fumes against the Bolsheviks; between 1922 and 1927, when the Spanish deployed mustard gas against the Rif rebels in Spanish Morocco; and finally, in 1936, when the Italians resorted to the same act against Ethiopians during the invasion of Abyssinia.
Use of gas as a means of extermination At the dawn of the Second World War (1939-1945), humankind witnessed a significant paradigmatic shift in the use of gas during the conduct of armed hostilities, which made it more deplorable than ever: the hellish poison ceased to serve only as an indiscriminate weapon utilized in the battlefield. Instead, gassing developed into the means of extermination, intentionally directed against civilian populations by the Nazis German Reich. The Nazis began utilizing poison gas in September 1939, when a number of German physicians commenced an inhuman scheme of medical experiments on the inmates of concentration camps, which consisted in the deliberate infliction of wounds with mustard gas and
302 ADVANCED COMPOSITION MANUAL 27 the analysis of the most effective treatment thereof for the benefit of the German Armed Forces. The atrocious research activities continued until April 1945. The first practices of mass murdering through the use of gas occurred as early as December 1939, when the Nazis commenced a calculated slaughter of aged, disabled, incurable and mentally ill patients conveyed to six remote institutes which were designated by the German Health Department to carry out the extermination program euphemistically referred to as euthanasia or mercy killing. The method of gassing then in use was the canalization of the exhaust of internal-combustion engines into rooms disguised as showers and baths. The gassing installations, operating for the purposes of the euthanasia program between 1939 and 1941, used pure, chemically manufactured carbon monoxide gas, which ultimately took a heavy toll of seventy thousand of human lives. A halt to the gassing of the mentally or physically ill, ordered in August 1941, did not break the German Reichs large-scale gassing operations. In contrast, this was precisely the time when the Nazis began to utilize gas in the pursuit of Adolf Hitlers hideous strategy to exterminate European Jews. In the initial stages of the plan, referred to as the Final Solution of the Jewish Problem, the gassing of Jews was performed predominantly by mobile killing units (Einsatzgruppen), which were operating twenty hermetically sealed trucks with engine exhaust channeled into the interior compartments. Although the gas vans claimed nearly 700.000 victims, they were deemed inefficient for the success of the Final Solution. Thus, in the next stage, the Nazis moved to apply the engine-exhaust fumes to a group of permanent gas chambers, each holding hundreds of people at a time. The method, initiated in 1942, was practiced in four extermination camps situated on the territory of Poland. Due to the frequent mechanical breakdowns of engines, in the spring of 1943 the commandant of Auschwitz-Birkenau death camp, Rudolf Hoess, ordered the replacement of carbon monoxide gas with hydrogen cyanide crystals (Zyklon B), which turn into lethal gas immediately upon contact with oxygen, and kill within fifteen to thirty minutes. The fist experiment with Zyklon B, typically used for disinfections, was conducted in September 1941 on 600 Russian prisoners of war and 250 inmates of the Auschwitz infirmary. Ultimately, Zyklon proved the quickest and the most effective technique of extermination: at its height, more than twelve thousand Jews were being gassed at Auschwitz alone each day. Use of gas after Second World War Apart from the use of gas by Egypt against Yemen in the 1960s, the world was free of extensive gassing operations until 1983, when Iraqi dictator Saddam Hussein launched a chemical campaign in the war against Iran (1980-1988). According to the estimates, mustard gas and nerve agent tabun were deployed approximately 195 times, killing or wounding 50.000 Iranian combatants and civilians. Having seen the effectiveness of the deadly gases against his external enemy, in April 1987 Hussein turned the hellish poison also against his hated internal opponents: the Iraqi Kurds who at that point were a target of an Iraqi offensive known as the Anfal campaign (1987-1988). The most dreadful out of at least forty gas assaults against the Kurdish population occurred between March 16 and 19, 1988 in the town of Halabja, which quickly became known as the Kurdish Hiroshima. In the course of the attack, the lethal cocktails of mustard gas, and nerve gases sarin and tabun, caused the loss of five thousand civilians.
302 ADVANCED COMPOSITION MANUAL 28 Prohibition of gas by international law The prohibition of poison is the oldest rule of humanitarian law. Correspondingly, the use of poison gas, which causes unnecessary suffering and superfluous injury to combatants, and as a weapon of mass destruction affects indiscriminately also civilian population, stands in blatant violation of the most vital rules of international customary law applicable to the conduct of armed hostilities: the principles of distinction, military necessity, humanity, and dictates of public conscience. In addition to custom, gassing has been prohibited since the nineteenth century by written agreements, the first being the 1874 Brussels Convention on the Law and Customs of War, and the 1899 Hague declaration banning the use of projectiles filled with gases. The landmark twentieth-century treaties include: the 1907 Hague Convention Respecting the Law and Customs of War on Land (which reaffirmed the ban on poison), the 1925 Geneva Protocol for the Prohibition of the Use of Asphyxiating, Poisonous or Other Gases, and of Bacteriological Methods of Warfare (which constituted a desired response to the atrocities of the First World War, but did not provide for any compliance mechanisms), the 1972 Convention on the Prohibition of the Development, Production and Stockpiling of Bacteriological and Toxin Weapons, and, most importantly, the 1993 Convention on the Prohibition of Development, Production, Stockpiling, and Use of Chemical Weapons and on their Destruction. Bringing the responsible to justice Under contemporary international criminal law, reflected in the 1998 Rome Statute of the International Criminal Court, the employment of asphyxiating, poisonous, or other gases during armed conflicts is deemed a war crime. Respectively, utilization of gases as a method of murder or extermination can be qualified as either a crime against humanity or genocide. The first international judgment revealing the truth about gassing of civilians was issued in the aftermath of the Second World War by the International Military Tribunal at Nuremberg, which convicted a number of major German war criminals for war crimes and crimes against humanity, committed, inter alia, through the use of gas. In the subsequent Nuremberg Proceedings (1946-1949), similar convictions were imposed upon the physicians who participated in the euthanasia program or mustard gas experiments (the Doctors Trial), and against S.S. administrators involved in the construction of gas chambers (in re Pohl and Others). Finally, in a momentous trial known as the Zyklon B case, two German industrialists Bruno Tesch and Karl Weinbacher of the Tesch and Stabenow company were sentenced to death for supplying Zyklon B to concentration camps. Significantly, the Court rejected the defendants contentions according to which they lacked awareness that the toxic pellets were used for extermination, rather than for decontamination. In contrast, an analogous argument was accepted in the trial of executives from the I.G. Farben company, whose subsidiary firm Degesch was shipping Zyklon B to death camps along with Tesch and Stabenow. One of the most recent prosecutions occurred in 1963, when the national court of the Federal Republic of Germany convicted Robert Mulka, an adjutant to Hoess, and a supplier of Zyklon B to the Auschwitz gas chambers. Word count: 1584
302 ADVANCED COMPOSITION MANUAL 29 Further Readings Background of Chemical Disarmament. (2002-2004). In the Organization for the Prohibition of Chemical Weapons [web site]. Hague, Netherlands. Available from http://www.opcw.org/html/intro/chemdisarm_frameset.html; INTERNET. Chronology of State Use and Biological and Chemical Weapons Control. (2004). In the Center for Nonproliferation Studies [web site]. Monterey, California. Available from http://cns.miis.edu/research/cbw/pastuse.htm; INTERNET. Goldblat, Jozef (1995). The 1993 Chemical Weapons Convention: a Significant Step in the Process of Multilateral Disarmament. In The Convention on the Prohibition and Elimination of Chemical Weapons: a Breakthrough in Multilateral Disarmament, ed. Daniel Bardonnet. Dordrecht/Boston/London: Martinus Nijhoff Publishers. Gutman, Israel, ed. (1990). Encyclopedia of the Holocaust. New York: Macmillan Publishing Company. Holocaust Learning Center. (2004). In the United States Holocaust Memorial Museum [web site]. Washington, D.C. Available from http://www.ushmm.org/wlc/en; INTERNET. Lippman, Matthew (1996). Fifty Years after Auschwitz: Prosecutions of Nazi Death Camp Defendants. Connecticut Journal of International Law 11:199-278. Power, Samantha (2002). Iraq: Human Rights and Chemical Weapons Use Aside. In A Problem from Hell: America and the Age of Genocide. New York: Basic Books. Reitlinger, Gerald (1961). The Gas Chambers. In The Final Solution: the Attempt to Exterminate the Jews of Europe 1939-1945. New York: A.S. Barnes & Co. Inc. Contributor: Paulina Rudnicka
302 ADVANCED COMPOSITION MANUAL 30 1v. Encyclopedia Entry 302- Form for Peer Review: Please have two people review your essay. One person will focus on content and structure (page #1); another reviewer will focus on grammar, word choices, and sentence clarity (page #2).
Title of entry: _______________ Author of Entry:__________ Reviewer #1: ________________ I. Opening: Does the opening focus on key points? Is the subject defined clearly in the opening statement? Is the subjects significance addressed? Is it a self-contained whole? Comments: Coherence/Organization: Clear method of organization (chronological, thematic, general to specific)? Should any text be moved? Any sections/paragraphs too long or too short? Are subheadings used effectively? If they are not used, should they be? Clear well developed paragraphs/ sections? Comments: II.
Support/Content: Are there enough examples and details to support major themes? Are the parts proportioned sensibly? How might the support be strengthened? Comments:
III.
IV. Comments:
Point of View/ Audience appeal: Does the entry accomplish its intended purpose with the audience in mind? Is it informative and clear? Any unnecessary technical jargon? Is it descriptive and objective?
Write a brief paragraph (200 words or more) describing your overall impression of your colleagues work.

Title of entry: _____________________________________________ Author: ________________________ Reviewer #2: ________________ Sentence skills: A. Any unnecessary words? Is the entry concise? B. Consistent verb tense? C. Minimal use of passive voice and weak BE verbs? D. Grammar and punctuation? E. Comma splices: I went to the restaurant, I bought a tofu cheeseburger.) F. Spelling errors and typos (especially: to/too/two; their, there, theyre; your, youre; its, its; past, passed; except/ accept; than, then)? G. Pronoun referents (someone did his or her homework, not their homework)? Comments: List at least two sentences that struck you as particularly effective: 1. 2. List two sentences that need particular attention. (Perhaps they are unclear or ungrammatical.) 1. 2. Write a brief paragraph (about 200 words or more) describing your overall impression of your colleagues work.
302 ADVANCED COMPOSITION MANUAL 32 CHAPTER 2: WRITING A REVIEW (OF AN IMAGINARY TEXT) PART 1: INTRODUCING REVIEWS 2a. PROMPT: FOLDER PART A 33 2b. PROMPT: FOLDER PART B.34 2c. GOALS OF THE ASSIGNMENT...35 2d. WHAT IS A REVIEW?.......................................................................................................35 2e. COMMON ELEMENTS FOUND IN A REVIEW.35 2f. GUIDE TO WRITING A REVIEW.36 2g. WORD CHOICES...36 2h. COMMON ERRORS..36 PART 2: SAMPLE ESSAYS 2i. PERFECT VACUUM BY STANISLAW LEM..37 2j. STUDENT SAMPLE ESSAY #1.37 2k. STUDENT SAMPLE ESSAY #240 2l. STUDENT SAMPLE ESSAY #3.42 2m. STUDENT SAMPLE ESSAY #4...44 2n. PROFESSIONAL SAMPLE ESSAY #5.46 2o. PROFESSIONAL SAMPLE ESSAY #6.47 2p. PROFESSIONAL SAMPLE ESSAY #7.50 2q. PROFESSIONAL SAMPLE ESSAY #8.52 2r. PEER REVIEW FORM54
302 ADVANCED COMPOSITION MANUAL 33 PART 1: INTRODUCING REVIEWS Folder Review of an Imaginary Text for a General Audience (100 points) 2a. Folder Part A ANALYSIS OF A REVIEW (20 Points) Task: 1. Find a review in a newspaper or magazine of a text/event (at least 750 words) relevant to your discipline. 2. Write a 500 word summary and evaluation 3. 3-5 minute presentation. Document Length and Design: The hard copy must be one to two pages (500 words) long. (Longer essays will NOT necessarily result in a better grade.) Your essay must be typed, doublespaced, one-inch margins, with your name, class, date, and assignment number in the upper right corner (Folder #2 part A). Presentation: Your presentation should be no longer than 3 minutes, focusing mostly on evaluation. Longer presentations may be cut short by the instructor. OUTLINE FOR AN ANALYSIS OFA REVIEW I. Introduction (50-75 words) A. Author of the review B. What is being reviewed? C. Brief overview/summary of the review D. Your thesis Is the review good or bad? Example, While the author skillfully addresses the key points of the play, he never truly captures the audience reaction to the event. Or, The author provides few details and offers no expert opinion on whether to see the event or not. II. Evaluation (300 350 words) evaluate and explain whether the argument is sound or not. Some things to consider in evaluating: A. Does the review match the intention/theme of the magazine/ newspaper/ journal? B. Does the author provide sufficient information? C. Audience does the author consider the audience? Is it for specialists? For amateurs? For students? For the general public? D. Does the author provide details about the event? E. Does the author convince you (not) to read/ see/ listen to the thing being reviewed? III. Conclusion (50) A. What would the author have to do to improve the review? B. Final thoughts
302 ADVANCED COMPOSITION MANUAL 34 2b. Folder Part B Review of an Imaginary Text for a General Audience (80 Points) Task: Write a review of an imaginary work/event such as a fiction or nonfiction book, a play, a concert, an exhibit, a theory, a piece of architecture, or some other text/event in your field. Use the knowledge you have gained in your discipline over the years and apply it to this task. You can use some of the selections from Stanislaw Lems book A Perfect Vacuum as examples. Purpose: The purpose of this assignment is to examine the spirit of the critics relationship to the text/event. You should consider content, style, rhetorical strategies. Be creative. Here are some more specific questions that you may use as a guideline: 1. Basic information about the text including publication information and contextual information. Please provide most of this information as an introductory framework. 2. What is the text about? What are the main ideas it presents, the issues it confronts? What abstract idea, theme, concept, or topic do you want to emphasize the most? In effect, you are asking, "How would I go about summarizing the main points and then what would I choose to focus on?" 3. Is the subject typical of one particular genre? Is it a comedy? A tragedy? A textbook? A mystery? A combination? Does it fall under the category of traditional tragedy, "theatre of the absurd", or "postmodern"? Does it make a mockery of the genre or deconstruct it? Is the writer following any particular manifesto or tenet? In answering this question, you are also asking whether the text undermines the viewer's/readers assumptions, what he or she might be expecting from the text, and how that is fulfilled or challenged. Use your knowledge in your field. 4. What information can you glean from other reviews, academic essays in journals, interviews? How does this information affect your response? What expectations are set up? Are they fulfilled? Remember that although professional reviewers don't provide a Works Cited list, I expect you to document your sources properly. 5. What effect does the work have on the viewer/ reader? In order to write a good review of anything, you must be able to take a critical position. This can be positive, negative, apparently indifferent, or some combination of these, but where you stand on certain issues should be clear to your reader. You might consider whats missing, whats worth seeing, what it is you value the most. How does this text contribute to the authors, creators other works? Please Note: Remember to provide specific examples and quotations to support your claims. The suggestions above do not all have to be addressed. The list only provides suggestions for your review/critique to be used, abused, or ignored! Document Length, Design, and Audience: The review/critique must be approximately 1200 1500 words (about four five pages), typed double-spaced with your name, course number, date, and assignment # (#2 Part B) in the upper right hand corner. Please use APA documentation if necessary. This should be written as if it would appear in the Washington Post Book Review, a cultural magazine like the New Yorker, or a specialist magazine/publication in your discipline. Due Dates: Check the course calendar
2c. GOALS OF THE ASSIGNMENT 1. 2. 3. 4. 5. To write in a confident style that is not afraid to critique the subject; To know the language of your discipline; To understand the purpose and elements of a review; To understand the important elements of a text; To develop the skill of critical examination in your discipline.
2d. WHAT IS A REVIEW? A review can be written about almost anything including but not limited to a movie, a book, a product, an event, a performance, a professor, etc. A review, however, is not a summary; rather it is an evaluation of the quality and meaning of a text and should primarily focus on the intended content and purpose. It should include a statement of the authors purpose and how well she accomplished that purpose. When evaluating, the reviewer should use specific examples to support the claims. 2e. COMMON ELEMENTS FOUND IN A REVIEW: Check this site for more details: http://www.lavc.edu/library/bookreview.htm 1. 2. 3. 4. 5. Provide the basic information about the text where, when, publication information. State the authors reason for writing the book. Provide the authors main idea in a short summary. Explain the method of development. Evaluate the book how well does the author accomplish what s/he sets out to do? Feel free to include outside knowledge or sources in critiquing the work. 6. Closing do you recommend the work or not and briefly summarize how you came to yoru conclusion.
302 ADVANCED COMPOSITION MANUAL 36 2f. STRUCTURE: I. Introduction should contain: A. the name of the author, the book title, and the main theme. B. relevant details and background about the author/organizer/event. C. Place the review in some framework, your take on the book/event in what context do you see it. For example, you may see the events historical significance, but another may see cultural impact or community impact. D. The thesis/purpose of the book/event. E. Your thesis about the book. II. Summary of content: Offer a brief summary of the content. You may want to break it up into topics or chapters. III. Evaluation of the book: Provide your analysis of the book. It may be useful to break this up into sections as well. Perhaps, you can compare this event/text with others like it. How does it compare, better or worse? Note: Some reviewers combine summary and analysis to avoid repetition. Please consider this if you find yourself repeating topics. IV. Closing: Balance the books strengths and weaknesses. What is your final recommendation? Please read the following for more details: http://www.unc.edu/depts/wcweb/handouts/review.html 2g. WORD CHOICES: Be confident in word selection. Please avoid phrases such as does a good job; instead you should be specific. Detail what is good or bad about the text, for example, the author skillfully combines summary and analysis. 2h. COMMON ERRORS: 1. 2. 3. 4. 5. 6. Too much summary; Too much evaluation; Empty wordy phrases such as does a good job, some say, It is important to note; Lack of specific examples and supporting claims; Quotations from the text; Notes about the author and her genre.
302 ADVANCED COMPOSITION MANUAL 37 PART 2: SAMPLE ESSAYS 2i. Perfect Vacuum by Stanislaw Lem Sections from Perfect Vacuum will be posted on e-reserves (http://furbo.gmu.edu/OSCRweb/index.html). Perfect Vacuum is a very interesting and creative collection of reviews. The catch is that none of these books that are reviewed actually exist in reality. The author, Lem, wrote these reviews of imaginary books. You will notice the dynamic interplay of critique and author in the first essay in which he critiques his own book. The other essays, I contend, are more than just playful, but add exciting social commentary both in the language and style. These are challenging essays, so do not get discouraged when reading through them. 2j. Student Sample Review #1 REVIEW Words Cant Describe- the Worlds Renowned Counselor has Written a Best Seller! Published: October 19, 2006 The day every psychology student has been waiting for has finally arrived. In all Barnes and Nobles and Borders bookstores awaits a line of students and professors buying this extraordinary textbook called Introduction to Counseling Psychology: Not for Dummies. Published by Psycnical Books, it has sold over an astonishing 3.5 million copies worldwide! Many might think, Why, this is just an ordinary textbook? or Who cares? However, this is not the case. This textbook is written by the one and only, Dr. Edward Haynes, who is one of the most regarded practicing clinical psychologist, therapist and counselor in the U.S., as well as the leading professor for the clinical psychology PhD program at Brown University. Internationally known, he is considered the Brad Pitt of psychology. A noteworthy psychologist and researcher of our time, Dr. Hayness textbook is not only a Best-Seller but also used in various colleges and universities. Written especially for clinical psychology students as well as practicing psychologists in a comprehensible fashion, Introduction to Counseling Psychology: Not for Dummies, provides numerous amounts of essential information for any reader. Included in this textbook is the student manual with effective study tools for a complete learning resource, a CD-ROM that features interactive video clips along with integrated case studies, and an engaging website for additional support with enrichment. While, similar textbooks can be humdrum and dry, Introduction to Counseling Psychology: Not for Dummies provides an intriguing, colorful 338page textbook. It starts with an introduction followed by chapters that include summaries, detailed diagrams, short answer questions, vivid pictures and last but not least, a full glossary of psychological concepts and key terms. Dr. Haynes divides the material into four chapters consisting of, different theoretical perspectives, counseling the multicultural and diverse society, interviewing and counseling techniques, and clinical guidance for group, couples, or families. The beginning of each chapter includes an informational chapter outline along with a useful main ideas section. While the end of each chapter are comprehensive thought questions, chapter ending key terms and activities as well as an extensive summary.
302 ADVANCED COMPOSITION MANUAL 38 It is notable that even though Dr. Haynes applies the humanistic approach throughout his counseling, he portrays an unbiased outlook when discussing different theoretical perspectives for clinical practice in his textbook. Accordingly, in chapter one, he describes psychoanalytical, behavioral, cognitive and postmodern theories so one can follow a useful perspective that is suitable for them (Haynes, 56). Other textbooks such as Introduction to Counseling and Guidance by Robert Gibson and Marianne Mitchell tend to focus on one specific culture. However, Dr. Haynes chapter on counseling the multicultural and diverse society, furnishes a conceptual framework for counseling an ethnic, diverse population. By discussing the multicultural, gay/lesbian/bisexual/transgender, women and the elderly society, Dr. Haynes not only provides an objective standpoint but also offers unique role-playing exercises and discussion questions to stimulate awareness. By far, this chapter is not only a highly recommended read for preparing students in counseling, but also a remarkable tool for counseling psychologists and mental health professionals. Written clearly, with helpful examples and effective methods, the different interviewing and counseling techniques Dr. Haynes discusses in chapter three provides readers with useful ideas and practical knowledge about interviewing children, adolescents, families, the elderly and disabled, as well as the multicultural society. For instance, many children can benefit from Play Therapy as Dr. Haynes advises how this treatment provides children to express their problems through the use of play (Haynes, 173). He also provides lively tactics to comprehend the Diagnostic and Statistical Manual (DSM-IV-TR), an intricate mental health reference tool used for diagnosing clients. Therefore, readers are offered a user-friendly guide for accessing the DSM-IV-TR. Included within this chapter is also an exclusive section on suicide assessment interviewing, which is essential to apply in any counseling profession. Ultimately, one will feel like an expert as Dr. Haynes brings to life all the imperative skills needed in an interview process. The last chapter of this textbook provides readers clinical guidance for group, couples, or families. Since the premise of this chapter does not involve individual counseling, focusing on a systemic perspective ensures readers awareness of helping individuals in a group achieve growth and strength. Who knew that group therapy could be more productive for some than individualized therapy? Not until one reads page 278, where Dr. Haynes provides informative guidelines in deciding which form of clinical guidance is suitable for a person. Many will applaud the strategies this chapter delivers, as it uses specific principles that are effective as well as reliable in counseling and diagnosing particular types of groups. Finally yet importantly, the reader will find beneficial role-playing situations, which presents a balance of humor along with thought-provoking guidelines. For instance, on page 313, in the situation of Asif and Lohitha who are undergoing couple therapy portrays how communication skills are important for an effective relationship. Although Dr. Haynes provides the most fascinating research, which is clear and engaging to readers, an array of problems does arise in Introduction to Counseling Psychology: Not for Dummies. Firstly, the text should have had a chapter for the counselor, which included stressmanagement and relaxation techniques. As over exhaustion and anxiety may occur throughout ones hectic schedule, it is necessary that the counselor learn these techniques to maintain their own mental well-being. Additionally, a section where the text discusses the benefits of counseling would have been informative for readers. Dr. Haynes does inform readers on page 303 that counseling is the best approach in improving the mental wellbeing of a client.
302 ADVANCED COMPOSITION MANUAL 39 However, many readers would like to know why counseling would be a more advantageous option than other forms of assistance. While Introduction to Counseling Psychology: Not for Dummies may have a few minor flaws, overall, it is truly a stunning success. Beyond a doubt, any reader interested in counseling psychology should read this textbook. Haynes, Edward. Introduction to Counseling Psychology: Not for Dummies . Ed. Michael Ingram. New York: Psycnical Books, 2005.
302 ADVANCED COMPOSITION MANUAL 40 2k. Student Sample Review #2 Modern Dance to Popular Music: Why Cant the Two Just Get Along? Imagine a modern dance group is showing an entire performance danced to music from a popular group whose songs are primarily recognizable. This performance promises to be a night to remember; one that will leave the audience uplifted and aesthetically fulfilled. Advertisements for this performance do not go unnoticed, and it is the talk of the town for weeks. The event will draw unlikely audiences to a modern dance performance, and it will familiarize the general public with the art of dance. Now, what happens when such an anticipated concert proves to be disappointing, and why are there no choreographers who can create a pleasing coexistence between dance and popular music? When danced to popular music, it is common for modern dance to be less believable and lose its artistic essence which it characteristically uses to captivate and entice viewers. Saturday nights performance at the Kennedy Center of Rock It Out by the PhilaUrban Dance Company based out of Philadelphia brought this hypothetical idea alive. This performance exemplified the term dissatisfactory at best, and caused an overwhelming feeling of utter disappointment. This performance was intended to bring together a diverse audience who would appreciate the integration of dance and popular music, but instead it proved to be both unfulfilling and dissatisfying. PhilaUrban created a work of modern dance that was performed to Rolling Stones hits which included (I Cant Get No) Satisfaction, Brown Sugar, Under My Thumb, and Wild Horses. As the curtain opened, a lackluster backdrop was displayed with the title of the show, Rock It Out across a dull black background. It was difficult to tune away the chuckles and sneers, and this light drone of noise was quite obvious as it resonated throughout the venue. The show commenced with a piece to the well-known song, (I Cant Get No) Satisfaction. The title of the song in itself was an appropriate choice for the beginning of the show for it set a precedent for the entire performance. The piece primarily used tricks and it had more of an entertainment quality than that of a modern appeal. The dancers executed jazz walks all around the stage which eventually led to random kicking, turning, and leaping. This choice of movement completely robbed the piece of any artistic aesthetic it could have possibly had. In the second piece, the dancers performed to Brown Sugar. It seemed as though they were performing at a gentlemans club rather than the esteemed Kennedy Center. The movement was raunchy and the costumes were hideous. The dancers appeared to be doing a racy jazz dance, but their faux leather costumes obstructed any use of freeness or indulgence in the movement. Throughout this entire piece, the dancers maintained their place in space. There were no formation changes; therefore, the large space was not utilized at all. The dance to Wild Horses assumed the quality of a lyrical dance one would see at a dance recital and not a professional companys performance. The dancers wore unflattering, blue sequenced costumes, and their only purpose during the entire piece was to walk around the stage and sway their bodies back and forth. The choreography remained stagnant for there was no use of dynamic changes. Never once did the movement in this piece do any justice to the beauty of the song. The dancers held a blank stare on their faces as they moved about the stage, and emoted nothing from within as they performed this piece. The dancers looked more like zombies than beautiful movers. Under My Thumb was the finale during which there was a major collision between four of the dancers. Two dancers ran from stage right and the other two ran from stage left only to crash into each other. This created an uncomfortable, chaotic moment. This is unacceptable for such a professional company, and it made the piece look as though it was not
302 ADVANCED COMPOSITION MANUAL 41 rehearsed to the desired extent. The entire performance showcased the company as just another brand of generic dance with no artistic or imaginative quality. How could such a renowned company allow this to happen? Rock It Out was advertised as if it was going to be as big as the Rolling Stones themselves, but the setting, the costumes, and the choreography were all awful with a capital A! It was almost as if the choreographers aesthetic was blinded by the music, therefore, his artistic expression was greatly challenged as a result. For all of the cases in which modern dance is performed to popular music, and especially in this case, the choreography loses the essence of actual modern dance. The dance becomes more that of a dance competition or a recital and fails to provide the audience with the expression of art that is so greatly revered in modern dance. Why is it that choreographers feel the need to interpret popular music in a literal sense and in turn forget their natural passion and ability for the creation of movement? Why is it that when the words I Cant Get No Satisfaction are heard, the dancers shake their heads and fingers instead of doing a Martha Graham contraction? Why couldnt Wild Horses have included Doug Varones fluidity instead of blas lyrical movement? Modern dance to popular music is not at all a new-age innovation so it is surprising to see the small extent of its development when it is showcased. Even the costumes in the performance looked like something out of a Halloween catalogue. The backdrop image which included the title of the show was poor, and there was also a strobe light effect throughout the entire performance that was completely distracting. Dance and music go hand in hand, but in this performance, that was far from the case. The movement did nothing to constitute the work and the thought behind the music which was disrespectful to the artistry of music and to the musicians. This performance should not have even been classified as modern dance for it showcased no elements of modern dance. Instead of fall and release there were jumps, instead of contractions there were turns, instead of curves there were leaps, instead of intellectually-based movement there was pure entertainment. The final straw came at the end when the dancers collided as they did infamous jazz runs across the stage in their performance to Under My Thumb. Modern dancers are known for the ability to seamlessly travel through space even with many others present in the same space as they. However, in Saturday evenings performance the dancers were overly excited about the performance and completely over danced. This is a rare occurrence in modern dance because these dancers are trained to showcase their talent without making it look like it takes a lot of effort. This performance, however, showed the dancers at their worst. They were huffing and puffing, they had goofy smiles on their faces, and they exaggerated the movement to the point of it looking awkward and uncomfortable. I would not recommend this performance to those who are looking to see a performance that will enlighten and inspire them. The scenery is boring, the costumes are tacky, and the movement is too overwhelming. In short, the entire performance is downright overbearing (in a bad way!). The only thing this performance succeeded in was furthering proof that modern dance companies rarely, if ever, succeed with shows inspired by and performed to popular music. The only thing left for PhilaUrban to do is redeem its esteem in the dance world after this horrific performance, and some are probably left wondering if that is even at all possible.
302 ADVANCED COMPOSITION MANUAL 42 2l. Student Sample Review #3: Review of Sean Meltzers Havanica: The Torn State Sean Meltzers ability to captivate his readers with his wit and sarcasm proves a success yet again in his latest work, Havanica: The Torn State. Under the pretext of summarizing Havanicas Civil War of 2034, Meltzer work, published in 2041 by Kalanisian Prints, Inc., deliberately applies unsympathetic undertones towards one of the ethnic groups involved in the war. Although this makes for a fascinating read, thoroughly enhanced by Meltzers mordant humor, this book requires an open-minded audience that tolerates anti-Lorreinian sentiments. Consequently, Havanica: The Torn State, although offering a significantly detailed summary, fails to meet the needs of those readers searching for an unbiased account of the war. Havanica, a small, densely populated island located off of the coast of South America, serves as a habitat for three ethnic groups, the Lorreinies, the Kalamos and the Celinisians. Unified only by their language, the three tribes practice exceedingly diverse customs and traditions. In 2034, after over a century of failed attempts at independence, the Kalamos launched into action a plan to overthrow the predominantly Lorreinian government. What began as a rebellion against government officials and Lorreinie militia, however, ended in a full-scale civil war between the two ethnic groups. Within months, it became clear that the Kalamos, despite being outnumbered by the Lorreinie, had the advantage. Armed with more technologically advanced weapons and powerful elite forces known as the Kalamos Rebel Armed Forces, or KRAFs, the Kalamos annihilated 35 percent of the Lorreinie population, losing three percent of their own in contrast. By the end of 2036, the Kalamos gained their long-awaited independence, and the War of 2034 came to a close. Havanica: The Torn State succeeds at providing a detailed account of major events in the Civil War and their impact on its outcome. In spite of this, Meltzers bias towards the Lorreinies causes him to omit vital information in order to argue his cause. Due to the non-inclusion of paramount facts, this book falls short of its stated purpose, to educate the reader that stands unacquainted with the War of 2034 (pg. 1); it fails to provide an accurate and comprehensive summary of the conflict. Thus, unless the readers demonstrate a considerable amount of knowledge about the Havanican War and simply want to enjoy an enjoyably witty read, the bias in the book could skew an uninformed audiences understanding of the civil war. Brian Hellenys The War of 2034, for example, or Claudine Kellis Lost Supremacy: The Story of the Lorreinies, might better serve this purpose, as both authors offer their readers neutral comprehensive summaries of the War of 2034. It would appear that author Sean Meltzers antipathy towards the Lorrenies stems from his surroundings. Married to native Havanian Marise Delissio Meltzer, Meltzer resides in Kalisia, a chiefly Kalamos-inhabited nation-state. As the son-in-law of the critically acclaimed Kalamos author Tamer Delissio, Meltzers perspective on the War of 2034 bears a glaring similarity to that of his father-in-law. Although Meltzer surreptitiously critiques the Lorreinies, Delissio openly refers to them as barbarians. In an article titled Independence: a Work in Retrospect, published in the Kalisian Tribune, Delissio condemns the Lorrenies as savages, unequipped to live in the modern world and mold with the ever-changing times. Meltzers work parallels this idea throughout its course. In the closing chapter of Havanica: The Torn State, Meltzer openly criticizes the Lorreinies prohibition of unnatural medicines. The prevention of the natural course of life by unnatural means, he disapprovingly declares, stands forbidden by the loutish Lorreinies (pg. 98). Filled with such anti-Lorreinie references, Havanica: The Torn State leaves readers with an account of the war that reflects Meltzers biased perspective of Lorreinies. The authors
302 ADVANCED COMPOSITION MANUAL 43 favoritism towards the Kalamos prevents the reader from receiving a full account of what truly took place during the war on several occasions. For one, Meltzer neglects to mention that the Kalamos began massacring civilians prior to the Lorreinies, thus gaining the disapproval of several pacifist nations and acquiring a label as attempted genocidaires from much of the international community. Meltzer also omits from his work the numerous terrorist acts performed by the Kalamos Rebel Armed Forces, which resulted in the deaths of hundreds of Lorreinian civilians. In fact, Meltzer goes as far as to refer to the KRAFs as the Basques of Havanica, valiant and undaunted by the prospect of death. The atrocities committed by this army, acts which society typically frowns upon, seem instead to impress Meltzer; he makes this terrorist organization seem courageous in the face of oppression, entirely excluding its terrorist activities from his work. Meltzer grants greater importance to the story of one Lorrenian man, Kelso Coreili. After facing a jury and escaping conviction for the murders of 23 Kalamos people, Coreili created a small uproar within the Kalamos population due to the significant amount of evidence incriminating him. Concerned with Coreilis case, Meltzer dedicates an entire chapter to accounting and analyzing this one Lorrenian mans story. Without taking the injustice illustrated by Kelso Coreilis acquittal lightly, the chapter would further benefit the reader if it covered the KRAFs terrorist activities, which played a greater role in the War of 2034. While certainly not opposed to criticizing the Lorreinies and glorifying the Kalamos, Meltzer completely disregards the third Havanian ethnic groups role in the war. The Celinisians, although self-proclaimed pacifists, secretly supplied weapons to both the Lorreinies and the Kalamos throughout the duration of the war. While unable to confirm the following, many political scientists hypothesize that this ethnic group possessed a hidden agenda of its own under the pretense of pacifism. Some suppose that the Celinisians, in an attempt to gain control of Havanica, provided weapons to their fellow Havanians in order to maximize the casualties of the war. According to the proponents of this idea, should either one of the ethnic groups drive the other from Havanica, or even obliterate the other, it would facilitate the process of coming into power for the Celinisians. Since the Kalamos were the smaller of the two ethnic groups, the Celinisians were also accused of giving the superior weapons so as to aid them in wiping out the larger threat, the Lorreinies, first. Although this remains a theory, the Celinisians role in supplying Havanians with weapons stands verified. In this case, Meltzer should have at least introduced this group in his work and given a brief description of its role in the civil war. He should have also mentioned the international communitys feigned ignorance of the conflict. In effect, not only did the international population purposefully overlook the civil war, but they refused to refer to the conflict as anything more than a struggle until its conclusion. Meltzers Havanica: The Torn State, while a success due to its humorous tone and sardonic undertones, would better serve as a supplementary reading for the reader trying to understand the Civil War of 2034. While not devoid of quality, the book should only be consulted by an audience well-versed in the matters of the Havanian war. The author provides his audience with only three short chapters of summary, employing the remaining nine chapters for analysis of the war with nuances of pro-Kalamos sentiments. Nonetheless, the book highlights some key factors of the war and remains far from useless. Affordable and equipped with a fairly detailed summary, when utilized by the conversant reader or as reinforcement for a less biased summary of the war, Havanica: The Torn State proves itself an essentially intriguing read.
302 ADVANCED COMPOSITION MANUAL 44 2m. Student Sample Review #4 Im Not Crazy, Why Are You Following Me? Autobiography by Craven Weisenheimer Psycho Text 2006 273 pages $14.95 paperback You spy that Barnes & Noble sales clerk betting with her pink and purple dwarf friends that you wont buy the book. You catch the barista behind his artificial, plastered smile, attempting to poison you with their gimmicky, free frappachino samples. Moreover, the manager (the manager!) is not assisting you- instead, shes whispering slanderous remarks about you into her oh-so inconspicuous earpiece. These so-called corporate slaves all turn to you with menacing grins. They think theyre sooo clever (but you know better), and instead of encouraging you to purchase your Bobby Brown CD and Peoples magazine (Britneys in rehab, again!), they all try to attack you with nail clippers (why didnt you see that?!) And you! Oh, with your Godly intelligence and remarkable sixth sense, bolt out the door. You begin heaving with excitement, knowing that once again, you foiled the system, and you are safe. In Craven Wisenheimers sophomore work, Im Not Crazy, Why Are You Following Me?, he explores his personal, internal struggles with Paranoia Schizophrenia, a rare form of the disease that causes Weisenheimer to see, hear, and imagine paranoid events. Weisenheimer meticulously chronicles his manifestations over a span of 25 years while battling his innermost demons whose main goal is to make it impossible to lead a healthy life. Weisenheimer richly illustrates his episodes with details, aiding mature readers to imagine being on location with him. His autobiography offers insight into the unknown and ignored, while allowing the reader to laugh and cry along. His craft is well written and entertaining, but readers may find it difficult to distinguish the hazy gray line between truth and embellishment. Weisenheimer lives a life of solitude, by choice, of course, and prefers this peaceful, nomadic life. Diagnosed with Paranoia Schizophrenia at the tender age of 23, he struggled to make ends meet while sacrificing family and friends. He kicked them away because they stole money from him and had inappropriate, perhaps sexual, but ambiguous, relations (Weisenheimer 84) with his beloved wife Magdalena. They, on the other hand, claim he was broke and single. After shunning away from society, he travels across the States, working odd jobs, such as a chewing gum remover, Campbells Soup Can durability inspector, and notebook paper tensile strength supervisor. Weisenheimer eventually leaves his jobs after discovering employees attempts to extract ideas, thoughts, and memories from his brain, and continues on his quest to relieve himself of his demons. Ending up in Jurez, Mxico, he recollects his past life and becomes determined to mend his broken life and relationships. This 273-page comgedy (comedy and tragedy, coined by the author himself) depicts his hardships, where Weisenheimer himself claimed he struggled like a 68 year old constipated man (264). Weisenheimers wry sense of humor is highly evident throughout his book. His antics and manifestations took a major toll on his life, but he seemed unperturbed by it at particular times. He has the tendency to point fingers and pass blame instead of stepping up to the plate and admitting fault when it was deemed necessary. Aware of his schizophrenia, he uses it as an excuse and fails to tackle his problems early on, finding it much more manageable to ignore reality and succumb to hallucinations, delusions and paranoia. Weisenheimer, brilliant, but whose bulb is dimming quite rapidly, wrote his autobiography to educate and to entertain.
302 ADVANCED COMPOSITION MANUAL 45 Weisenheimers book is a simple and quick read and is likely to entertain whoever picks up the book. Entertaining and hilarious, he migrated from his focal points to recant stories he forgot but just recalled. Oftentimes, his paranoia was evident when he began to accuse the readers and publishers of conspiring to steal his ideas, but quickly reorganized his thoughts and proceeded on his trail to relive his tumultuous past. Weisenheimer looks back nostalgically at times before his diagnosis and it is highly evident the monumental affect it had on him. However, it seems like his pride would not allow him to suffer emotionally nor shed tears or cast doubts on his past. His vivid tales are intricately woven and one cannot help but to imagine being there with him. Weisenheimers impression is that of an elderly grandfather, sitting around a warm fire, telling tales to doe-eyed grandchildren. Whoever comes in contact with his stories are instantaneously mesmerized but readers should question how much is truth and how much is make believe. Weisenheimer provides us with an intimate and rich overview of his daily struggles, teaching us to open our eyes to unearth the differences between us. It opens another door and allows readers to see what lies beneath, what lies beneath the paranoia, delusions and hallucinations, and what happens when you succumb to them. Although his tales seem to be woven with a bit of embellishment, he provides readers with a highly refreshing writing of an ailment that many tiptoe around, and placing it under a comical light. Readers will enjoy this highly poignant and engaging tale of a man once lost. People see cliffs and avoid them, meandering around to find safe footing. I, on the other hand, see a fissure, filled with cotton candy and baby lambs, willing to break my fall from the evil dandelions that chase me. Thats what makes me different, not the fact that Im crazy (270).
302 ADVANCED COMPOSITION MANUAL 46 2n. Professional Sample #5: Art Review September 12, 2008 ART REVIEW | AARON DOUGLAS Black in America, Painted Euphoric and Heroic By KEN JOHNSON For African-Americans the 1920s were an exciting time. From New York emerged the great flowering of black culture that came to be known as the Harlem Renaissance. Though primarily a literary movement driven by writers like W. E. B. Du Bois, Zora Neale Hurston and Jean Toomer, the spirit of the Harlem Renaissance extended to music, dance, theater and the visual arts. And no visual artist expressed the movements euphoric sense of possibility better than the painter, illustrator and muralist Aaron Douglas. The subject of a valuable exhibition at the Schomburg Center for Research in Black Culture called Aaron Douglas: African-American Modernist, he created a singular mix of Afro-centric allegory and Modernist abstraction. His major works feature semitransparent silhouettes of black people in heroic poses representing struggle and triumph mystically overlaid by concentric, circular bands of light. Rendered in muted colors, they project visionary romanticism in a suave, Art Deco-like style. The show was organized by Susan Earle, curator of European and American art at the Spencer Museum of Art at the University of Kansas, where it was on view last year. If Douglas is not widely remembered today, it may be because he did his best work as a muralist and illustrator. Easel painting, the dominant currency of early-20th-century art, was not his forte. Another reason is that he redirected his energies to teaching. In 1938, which still maintaining ties to New York, he went to Fisk University in Nashville, where he founded the art department and taught for 29 years. (Theres a selection of works in the exhibition by former students, who remember him in statements quoted in wall labels as a kind and inspirational mentor.) Born in Topeka, Kan., the son of laborers, Douglas started making art as a boy. Cover designs for two of his high school yearbooks pictured in the exhibition catalog attest to a precociously sophisticated sense of design. He worked his way through the University of Nebraska, graduating in 1922 as the first black art major in its history. After teaching high school for a couple of years in Kansas City, Mo., he moved to Harlem. In New York, Douglas quickly fell in with some of the Harlem Renaissances major players. The literary critic and philosopher Alain Locke invited him to contribute to his book The New Negro: An Interpretation; Du Bois gave him a job in the mailroom of The Crisis, the journal of the N.A.A.C.P.; and he illustrated poems by Langston Hughes. He also began studying with Winold Reiss, a German-born artist who introduced him to Modernism and encouraged him to look at the African art at the Brooklyn Museum.
302 ADVANCED COMPOSITION MANUAL 47 The Douglas exhibitions main attraction is a series of four near-mural-scale paintings made in 1934 for the 135th Street branch of the New York Public Library, now the site of the Schomburg Center. Painted in Douglass signature style of subtly colored shades of gray with silhouetted figures suffused by radiating bands of light, Aspects of Negro Life, a Works Progress Administration commission, depicts rousingly theatrical visions of four chapters in the history of African-Americans. One looks back to Africa, showing exuberant tribal dancing. Another focuses on an orator speaking to slaves picking cotton. A third, An Idyll of the Deep South, shows a guitarist and a banjo player performing as others listen, dance and sing along. The most inspirational of the series is Song of the Towers. Measuring about eight feet square, it shows a man raising his arms, a saxophone in one hand, as though to praise the Statue of Liberty, visible in the distance between soaring, dynamically tilted skyscrapers. This image of hopeful aspiration has a dark side, though: the aspiring musician is standing on a big gear wheel symbolizing the machinery of a city and a society that could grind him up; another figure has fallen into shadowy despair in the lower-left side of the painting. (Douglas painted a smaller version of this image in 1966.) Judging from pictures in the catalog, Douglass greatest work may have been an expansive mural program that he produced for Fisk in 1930. But he also did some of his best work on a small scale. Stark black-and-white pictures he created for a collaboration with Hughes in 1926 combine abstraction and figuration with jazzy verve, vividly animating Hughess blues lyrics. After Douglas went to Fisk, he started making easel-scale, Ash Can-style landscapes and portraits. The examples on view here are competent, but nondescript. Perhaps because he put his energies into teaching, he evidently produced little of great consequence after the late-30s. What he created in the first half of his career, however, deserves to be better known. This exhibition and its excellent catalog are a good step in the right direction. Aaron Douglas: African-American Modernist runs through Nov. 30 at the Schomburg Center for Research in Black Culture, 515 Malcolm X Boulevard, at 135th Street, Harlem; (212) 4912200, nypl.org/research/sc. http://www.nytimes.com/2008/09/12/arts/design/12doug.html?_r=1&sq=black%20in%20americ a&st=cse&scp=1&pagewanted=print
302 ADVANCED COMPOSITION MANUAL 48 2o. Professional Sample #6: Fiction Review August 14, 2008 BOOKS OF THE TIMES One Pill Makes You Happy, and One Pill Makes You Mad By JANET MASLIN PHARMAKON By Dirk Wittenborn 406 pages. Viking. $25.95. Wittenborn psychiatric rating scales take their name from Dr. J. R. Wittenborn, a research scientist whose fields of expertise included psychopharmacology and the evaluation of responses to psychotropic drugs. Now his son, Dirk Wittenborn, has written a guide to evaluating his father. Pharmakon is the younger Mr. Wittenborns novel about the family of a narcissistic, opinionated and dangerous patriarch whose works influence extends to the lives of his relatives and beyond. If theres brain candy in your medicine cabinet, the narrator maintains, chances are my fathers messed with your head, too. Pharmakon begins in the early 1950s, at the dawn of the age of mood-altering pharmaceuticals, with the research career of William Friedrich, a psychology professor at Yale. Though this is the heyday of the lobotomy as psychiatric treatment, Wills ambitions point him elsewhere. He falls under the sway of an autocratic, patrician scientist named Bunny Winton, who has studied the response of certain cannibals to certain fermented leaves from their native New Guinea. She refers to this substance as the Way Home. When Will tries taking it, he hallucinates and sees shrieking, feathered apparitions that he finds wildly exciting. This is why he had become a psychologist and taken a job at Yale at a salary that forced him to put off going to the dentist, the book explains about the new discovery. As far as Will is concerned, the chemical cure for depression has been born. When Will meets a pimpled Yale freshman named Casper Gedsic, Pharmakon is still immersed in a fondly satirical depiction of 1950s academia. It takes a while to realize that Wills doctorly interest in a hapless, brilliant oddball like Casper may lead to trouble. Its almost as if he lacks joy receptors, Will says of Casper, who begins looking like a good guinea pig for Wills chemical experiments. During this part of Pharmakon, Mr. Wittenborn describes an abundance of innocent drug dosing that carries no hint of possible consequences. He illustrates how the characters moods spike up and downward, depending on what substances they have been ingesting. Beyond its interest in mood swings, his book also deals with snobbery and ambition, to the point where it briefly resembles one of David Lodges wry comedies of academic manners. But then it takes a terrible turn: Casper turns out to have been too volatile to withstand the changes to which he has been subjected. He has been coaxed out of his isolation and thrust into circumstances he cannot handle. All in all, Casper has been tipped off balance.
302 ADVANCED COMPOSITION MANUAL 49 Still, Casper seems so central that it comes as a surprise that the main part of Pharmakon will unfold later. Most of the book occurs post-Casper, after the calamities that changed the Friedrich family forever. Suddenly the novel has a narrator: Zach Friedrich, a young boy with an older brother, Willy, and two sisters, Fiona and Lucy. Zach would also have had another older brother named Jack had not their father, by now a stellar scientific figure for his role as a pioneer of psychopharmacology, enabled Casper to make a murderous mistake. Pharmakon takes its title from a Greek word meaning both poison and cure. That befits its insightful depiction of this whole fraught family and the strange atmosphere in which Zach grows up. Experimental drugs seep into the story from every direction. Zachs mother, Nora, who has been badly depressed for a while, suddenly begins cleaning house, dressing up and holding dinner parties after her husband uses his medical wiles to buoy her spirits. Not for nothing does Will use a paperweight that looks like a pill, a gift from a drug company whose fortunes have been greatly helped by Wills efforts. When Zachs parents romance is rekindled, he notices that late at night, for fear of waking us, theyd whisper words like meprobamate, diazepan, chlorpromazine, as if they were speaking a secret language of love. Zach sounds like a largely autobiographical version of Mr. Wittenborn. Both of them grew up amid great drug experimentation. Both aim to become writers. And both eventually pay dearly for the ideas of normalcy that they absorbed during childhood. Zach winds up a promising Hollywood writer whose drug habit all but destroys his career. Mr. Wittenborn is a film producer who recently saw one of his earlier novels, Fierce People, adapted to the screen, and who has talked about his own self-destructive chemical troubles. Whats best about Pharmakon, beyond the curiosity value of its unusual premise and atmosphere, is Mr. Wittenborns colorful, affectionate evocation of a complex family story. While it goes without saying that the doctor can be envisioned as monstrous, Pharmakon prefers to see the humanity in his clumsy efforts at manipulation. The books portrait of Dr. Friedrich does justice to an overreaching former farm boy whose new celebrity never quite makes him happy and who cannot allow those around him to move through life unimpeded. Here is a man who, when his daughter paints a portrait of the family, insists on correcting her work. When pot-smoking Zach wins a high school essay contest by writing What Goes Up Must Come Down, about the perils of drug use, the doctor fails to detect any whiff of hypocrisy in his sons accomplishment. Ultimately Pharmakon is a smart, eccentric coming-of-age story about an entire cultures maturation process, not just one about the workings of a single family. And Mr. Wittenborn is able to channel a lifetimes worth of psychiatric symptoms into one improbably universal story. http://www.nytimes.com/2008/08/14/books/14masl.html?_r=1&oref=slogin&pagewanted=print
302 ADVANCED COMPOSITION MANUAL 50 2p. Professional Sample #7: Nonfiction "Growing Up Jung: Coming of Age as the Son of Two Shrinks," by Micah Toub By Carolyn See Friday, August 27, 2010; C03 GROWING UP JUNG Coming of Age as the Son of Two Shrinks by Micah Toub Norton. 261 pp. $23.95 There's nothing more endearing than a family memoir in which the author is actually fond of his family. It's rare; it's close to miraculous. If a person wants to write about his youth and his parents, it's usually because he has scores to settle. Affection turns the whole thing into a miracle. Because parents -- God love them! -- have been put on Earth to embarrass us half to death. Not that Micah Toub's mom and dad don't fit that bill. They're both Jungian psychologists, and while Jung seemed important and relevant back when Toub's parents were at the height of their respective careers, Toub gets pestered regularly these days by people who remind him that Jung is no longer taken very seriously as a rigorous thinker. (Just to refresh your memory: Jung was first a disciple, then a colleague and later a competitor of Sigmund Freud back in the first half of the 20th century.) The key facts to remember while reading this book are that Jung theorized about the "collective unconscious," the importance of mythical archetypes that inhabit every mind; the "anima," most usually in reference to the feminine self that lurks inside every man; "synchronicity," which leaves sweethearts eternally marveling about what it was, exactly, in this Big World that allowed them to meet in the first place; and finally, "individuation," the process by which we separate from our parents and become our own independent selves. The narrative begins in a Colorado suburb in the '8os with a family where the parent-therapists often work at home. That "meant that waves and waves of screwed-up, crazy, lunatic weirdoes were allowed to enter our altar of rational normalcy," Toub recalls. But home life was never all that rational or normal. What did pertain was a form of highly evolved psychological integrity, a commitment to trying to find out what was really going on in life in any particular moment. "Being the son of a psychologist . . . meant saying exactly what you were thinking and feeling -it meant telling the truth," Toub writes. The first chapter, "The Marginalized," is a perfect mini-masterpiece about how good intentions and the best belief systems just aren't going to work out if someone in the group isn't prepared to go along with the program. The young Micah has an older, half-black, half-sister, who, in the fashion of all rebellious teenagers, is totally disgusted with her parents and family and everything
302 ADVANCED COMPOSITION MANUAL 51 that goes along with that package. (She detests anything and everything that seems in the least New Agey.) The situation has gotten so far out of hand that a family meeting is convened, in which Micah's dad feels called upon to speak in his "fluffy-edged psychologist voice," while his sister's (unstated) position is: "I don't want to talk about it and you can't make me." Her stepdad tries to get her to talk about the ceiling: "Why don't you describe what you see?" he asks. "Perhaps you see a figure or a story in the shape of the plaster that will help us to know what's happening with you?" Toub's parents live in a land of stories, of living room floors dotted with meditation pillows, a strict macrobiotic diet (except for the family's monthly jaunt to a seafood restaurant), a belief in spirit guides and mandalas and what they signify -- and above all, a touching belief that something big is going on beyond the everyday world. The wonderful thing Toub does here is stay away from the cheap-and-easy shot (except, perhaps, when he mentions that his dad's second wife divorces him because, she says, "I just can't grow old with a man who owns a Tarot deck.") He tries his best to show the reader that, past any surface goofiness, Jung's theories provide us with useful tools to talk about the human condition. In the second half of this memoir, Toub takes particular events in his life and describes them in terms of various psychological concepts: The shadow in his life turns out to be watching porn and gobbling sweets. A friend of his gets control of his anima by walking around like the cutest girl in town instead of just lusting after her. A romance with a promising girlfriend is jeopardized by a lively familial conversation about incest, and so on. And yes, it is true that Micah likes his mom a little more than might be generally acceptable, but hey, nobody's perfect! That's what psychology is for, isn't it? I hated to see this book end. I loved every person in it, from the wistful dad with his "fluffyedged" voice, to Toub's kind and darling mom, his tolerant and loving ex-wife, even that volcanic teenaged sister, who refused to tell stories about the ceiling. "Growing Up Jung" is a gem. See reviews books regularly for The Post. http://www.washingtonpost.com/wp-dyn/content/article/2010/08/26/AR2010082606162_pf.html
302 ADVANCED COMPOSITION MANUAL 52 2q. Professional Sample #8: Graphic Novel Howard Cruse's graphic novel "Stuck Rubber Baby," reviewed by Dennis Drabelle By Dennis Drabelle Saturday, August 21, 2010; C03 STUCK RUBBER BABY By Howard Cruse Vertigo. 210 pp. $24.99 When I was growing up, there were essentially two kinds of comic books: the funny and the horrific. The graphic novel had not been invented yet, and few if any artist-writers would have considered panels full of drawn figures and speech balloons as vehicles for putting characters through ordeals like fighting against bigotry or coming out of the closet. If anyone had been crazy enough to invest time and energy in producing something like "Stuck Rubber Baby," Howard Cruse's long, complex, meticulously drawn account of racism and homophobia in a town that looks a lot like Birmingham, Ala., in the 1960s, he would have restricted its circulation to a small group of friends. All that had changed by the 1990s, when "Stuck Rubber Baby" was first published, but even then it had birth pangs. Cruse, who is best known for his gay comic strip "Wendel," explains that his own high standards were almost his undoing. When he started out, he recalls, he thought the book would take him two years to complete. He adds tersely, "It took four." To keep going -- to keep producing the densely shaded, profusely dotted drawings that give depth to his settings and flesh tones to his characters (that last is an important feature, given the subject matter) -- Cruse had to find a source of funding. Several friends, including playwright Tony Kushner and novelist Armistead Maupin, agreed to buy pieces of the art intended for the book "at higher than market value and in advance of its even being drawn." Thanks to that infusion of cash, Cruse was able to finish the book, which won him a pair of international awards. His protagonist is Toland Polk, a college-age white guy who rarely sets off anyone's gaydar. This can be an asset in that time and place: While swishier friends get taunted and beaten up by rednecks, Toland rolls right along. On the other hand, it's easy for him to fool himself into thinking his attraction to men is just a phase, and in doing so he not only retards his own development but makes his girlfriend miserable. (To assert his "manhood," he gets her pregnant after the condom he has carried around for years proves inadequate to its task -- hence the book's title.) At the same time, local black citizens are losing patience with the Jim Crow South. The book's two threads entwine at a local bar where just about everyone is welcome -- whites, blacks, gays, straights -- but which is also a favorite stop for rednecks wielding baseball bats. The action climaxes with a hanging, the aftereffects of which Cruse conveys on a harrowing two-page spread in which a much older Toland looks back on the event with a horror he can't forget -- so traumatized that his head splits into sections.
302 ADVANCED COMPOSITION MANUAL 53 If occasionally "Stuck Rubber Baby" seems almost too ambitious for its own good, we should keep in mind what it commemorates. There wasn't a lot of subtlety to the heroism and villainy of the civil rights era in the South, and for that reason comic-strip art may be especially well suited to evoking it. "Stuck Rubber Baby" makes for a gripping way to revisit those lurid days. Drabelle is a contributing editor of Book World. http://www.washingtonpost.com/wp-dyn/content/article/2010/08/20/AR2010082005245_pf.html
302 ADVANCED COMPOSITION MANUAL 54 2r. Peer review form Title of Entry: ________________________________ Author of Essay: __________________ Reviewer #1: ______________________ I. Introduction: Is the subject defined clearly? Is relevant information presented (names, dates, publication information)? Is the thesis or main idea of the book/text/event clearly presented? Is the reviewers thesis/evaluation clearly presented? Any contextual information included? If not, should it be? If so, should it be somewhere else? Comments:
II. Coherence/Organization: Clear method of organization? Clear well developed coherent paragraphs? Balanced? Are any sections/paragraphs too long or too short? Should any text be moved or eliminated? Any digressive/unnecessary words or sentences? Comments:
III. Support/Content: Is a clear and fair summary of the work presented? Is there an evaluation presented? Are there enough examples and details to support major themes? Is the critique well researched? Are there too many/ not enough quotations or direct textual references? Does the critique critically engage the subject? Interesting take on the topic? How might the support be strengthened? Comments:
IV. Point of View/Audience Appeal Is the essay free of distracting shifts in points of view? Does the essay accomplish its intended purpose with the audience in mind? Does the essay catch the readers attention? Does the essay provide the title of the journal in which it is being published? Comments:
302 ADVANCED COMPOSITION MANUAL 55 Reviewer #2: ______________________
Please comment and offer suggestions on the grammar and style of the essay. Consider the following: 1. Word choices (good verb choices, descriptive adjectives and adverbs); 2. Sentence variety (avoid monotonous sentence structure), 3. Punctuation (use commas correctly); 4. Run-on sentences or sentence fragments. Please list or mark two sentences that are particularly well written: 1. 2. Please list or mark two sentences that need attention: 1.
2.
CHAPTER 3: WRITING AN ANALYSIS
PART 1: RESPONDING TO THE BOOK GLORIOUS by Bernice McFadden 3a. PROMPT PART A ..............57 3b. PROMPT PART B...........................58 3c. GOALS OF THE ASSIGNMENT ..........59 3d. WHAT IS AN ANALYSIS? APPLYING CONCEPTS TO A TEXT.....................59 3e. STRUCTURE...59 3f. GOOD SOURCES TO USE.............60 3g. WORD CHOICES61 3h. COMMON ERRORS61 PART 2: SAMPLE ESSAYS 3i. SAMPLE 1.62 3j. SAMPLE 2.64 3k. SAMPLE 3....67 3l. SAMPLE 4.............70 3m. SAMPLE 573 3n. PEER REVIEW FORMS...77
302 ADVANCED COMPOSITION MANUAL 57 PART 1: RESPONDING TO THE BOOK GLORIOUS by Bernice McFadden 3a. Folder Part A: Analyzing journals in your discipline (20 points) Analytical Report on Journals in Your Field Purpose: To know several journals in your major or your career field. Assignment: Find five journals in your field of study. Choose two of the five journals of varying levels of sophistication. Write a report on each journal in which you provide the following information: Name of journal Publisher Intended audience Frequency of publication Cost Formata brief description of the journals organization, advertising... Purpose of the journallook in the preface or introduction for this information and discuss the kinds of articles that are publishedresearch, theory, application, persuasion, information (150-200 words) A summary of one of the key articles in this journal. (250 words) An evaluation of the journal's credibility and usefulness. (150 -200 words)
1. 2. 3. 4. 5. 6. 7.
8. 9.
The final report must be written the technical format below. Name of Journal and url Publisher Audience Frequency of Publication Cost Format Purpose (150 words) Article Summary (200 words) Journal Evaluation (150 words)
302 ADVANCED COMPOSITION MANUAL 58 3b. Folder Part B Analyzing the novel Glorious by Bernice McFadden (80 points) Task: Write a review/analysis of the novel Glorious by Bernice McFadden. The analysis must be through the lens of your major. For example, a psychology major should write an analysis of the novel from a psychology perspective, a music major through a music perspective etc. Purpose: The purpose of this assignment is to analyze the novel Glorious through the lens of your major. In light of this, you should use language that is appropriate to your discipline and that a general, but well read, audience could engage in. Please refer to concepts, theories, and theorists in your field that aid you in analyzing the film. Thus, the goal of the assignment is to practice how well we are able to apply our knowledge we have gained through our majors to a cultural text. Sources: The number of sources is up to you, but I suggest it is best to locate two good sources. The sources should not be interpreting the novel, but offering explanation or discussion of a particular theory that you can then apply to it. In other words, you do not have to find an article Harlem Renaissance as portrayed in McFaddens Glorious; rather an article, Influences of the Harlem Renaissance could be used to help you engage the novel. Document Length and Design: The analysis must be a minimum of 1500 words (about five pages), typed double-spaced with your name, course number, date, and assignment # (#1Part B) in the upper right hand corner. Please use MLA or APA documentation. This will be submitted in a folder (rough drafts) and on Blackboard (final draft) on the date specified on the course calendar. Audience: This should be written as if it would appear in the New York Times Review of Books (nytimes.com), a cultural magazine like the New Yorker (www.newyorker.com), or a specialist magazine/publication/journal in your discipline.
Due Dates: Check the course calendar. The final folder should include the following: 1. Final Paper 2. Outline 3. Rough Draft(s) 4. Peer Editing Form (filled in) 5. Annotated Bibliography
302 ADVANCED COMPOSITION MANUAL 59 3c. Goals of the Assignment 1. 2. 3. 4. 5. To apply the knowledge you have gained in your field to a specific situation/text/novel; To locate good sources to assist in the analysis of a situation/text/novel; To apply the sources effectively by combining secondary sources and primary sources; To engage the situation/text/novel through a specific lens; Use appropriate vocabulary.
3d. Applying Concepts to the Novel When writing the analysis of the novel, keep in mind that you should have a balance between the elucidation from the sources you find and the text. I suggest that you balance the text with 50% from your research and 50% from the novel Glorious. Two ways to construct the essay are as follows. The first way is by offering the theoretical or research background. You can present the information you have researched first in about 2 pages, and then turn to the text and show how the research elucidates or explains aspects of the text. You can also do it the other way by presenting the text and then the research. The second way to write the essay is to alternate. Perhaps, describe a scene from the text and then use your research to explain the scene. Then provide another scene and explain it with research you have uncovered that explains or interprets the text. 3e. Structure
These structures do not have to be followed, but they are the two most common. Here is rough outline #1*: I. Introduction explains what you are investigating. You should mention your angle on the book. Background research 1. Point 1 2. Point 2 3. Point 3 how many points you think necessary. Glorious 1. Point 1 illustrated 2. Point 2 illustrated 3. Point three illustrated Closing not a summary, but explains the benefits of using the theory to explain the book or the book, the theory. *You can reverse I and II if you think it fits better.
II.
III.
IV.
Outline #2*: I. Introduction explains what you are investigating. You should mention your angle on the book. Point #1 1. Scene in the book 2. Explanation based on research III. Point 2 1. Scene in the book 2. Explanation based on research. IV. Closing not a summary, but explains the benefits of using the theory to explain the book or the book, the theory. You can invert the order of scene and the research if you find it more logical.
II.
3f. Good Sources to Use The number of sources is up to you, but I suggest it is best to locate two or three good sources. The sources should not be interpreting the novel, but offering explanation or discussion of a particular theory that you can then apply to it. In other words, you do not have to find an article Harlem Renaissance as portrayed in McFaddens Glorious; rather an article, Influences of the Harlem Renaissance could be used to help you engage the novel.
302 ADVANCED COMPOSITION MANUAL 61 3g. Word Choices 1. Phrases to avoid: a. does a good job (or anything like this.) b. I feel, I believe these are not grammatically wrong, but they do not present a firm statement by the author. Be confident. c. Overuse of It is there is there are or any variation of these. Usually, you can rewrite the sentence to avoid these empty expressions. Please note these phrases are not grammatically incorrect, but used too often can create a poor writing style. 2. Good choices: a. Please use Thesaurus.com and Dictionary.com to find the best words to make your points. b. Use active verbs and avoid weak be verbs (i.e. is, was, were) c. Example of good word choices: There are many ways to introduce what another author says. Many students use the introductory phrase, the author states. Here is a thesaurus search of other possibilities: affirm, air, articulate, asseverate, aver, bring out, chime in, come out with, deliver, describe,elucidate, enounce, enumerate, enunci ate,explain, expound, express, give, give blow-byblow, give rundown, interpret, narrate, pitch, present, pronounce, propound, put, recite, recount, refute, rehearse, relate, report, say, set forth, speak, specify, tell, throw out, utter, vent, ventilate, voice These are not all good choices, but they all have slightly different meanings, so choose the one that most closely expresses your point of view. 3h. Common Errors 1. Many students rely too heavily on outside sources without calling attention to the novel. In other words, they do not cite the novel often enough. 2. Others cite the novel very often without elucidating the scenes with secondary sources. 3. Repetition is often a problem because of poor structuring of the assignment. Make sure you choose the most appropriate form of organization that avoids repetition of concepts. 4. A superficial or basic reading of the novel. I would like you to explore one aspect of the novel that relates to your discipline. Some students try to explain or to interpret the entire novel. This is not the goal of the assignment. 5. Style: some students do not properly weave the secondary source with the novel. Make sure there is a flow as you attempt to engage the novel. 6. Style: word repetition. Use sentence variety to avoid repetition of key words or phrases.
302 ADVANCED COMPOSITION MANUAL 62 PART 2: SAMPLE ESSAYS 3i. Sample #1 The Color of the Cuckoos Nest I dont know what I would do if I were blind or unable to see colors. I feel I am always looking at things, analyzing, noticing their curvaceous shape, vibrant colors, movement of their lines or overall placement. It can be commercials, web pages, magazine spreads, book covers and especially movies. In visual experiences, whether it is what we see in nature, printed material or on screen, harmony is something that is aesthetically pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance and if successful, evokes emotions within the visual experience. Designers must be careful not to drift too close to either end of the spectrum. When something is not harmonious, it's both too bland and boring or too complex for the brain to comprehend and chaotic. The art of mixing colors to achieve specific effects and ultimately reactions and emotions is called Color Theory. Color Theory is closely related to color psychology and there are many studies linking our surrounding colors and the effects they have on our moods and emotions. In my opinion, the use of color is one of the most noticeable elements of this movie. In the hospital environment, the colors are very neutral and blend together almost seamlessly. All of the patients, as well as the hospital staff are wearing white and the walls and elements of the building are beiges and whites as well. In one of the first scenes when Randle McMurphy arrives at the hospital, he is in all black-a stark contrast compared to the light background. I think this signifies the difference in personality and behavior between McMurphy and the rest of the people in the hospital. He is neither orderly nor quiet and without knowing the story line, I would already pick out McMurphy as the one to shake things up. I thought it was really interesting to note that Dale Harding, the man struggling with his homosexuality is wearing a blue robe in the scene where the nurses and patients are discussing their life problems is wearing a blue robe while all of the other patients (with the exception of McMurphy) are wearing white. The color blue is often associated with tranquility, stability, trust, confidence, and security, all of which Harding is not. For the majority of the movie he struggles with his confidence and security. He most certainly is not trusting and spends much time defending his actions and questioning the fidelity of his wife while the real turmoil is interpersonal. On the other hand, McMurphy wears a green shirt-either by itself or under a white shirt in the scene where he tries challenges the nurse in regards to his medicine and when he wants to go watch World Series. I find this extremely significant because green is a color associated with youthfulness, healing and vigor. Its calming, healing effect often alleviates depression, nervousness and anxiety. As the protagonist, McMurphy really pushes the patients and ultimately helps them in unlikely ways, often antagonizing them but ultimately easing their nervousness and anxiety. He becomes their leader, challenging them as well as the authority of the institution, which ultimately does not end in his favor. Interestingly, there is an alternative meaning to the color green which is often linked with illness and institutions which suggest negative emotions. While I feel that McMurphy is a nut, I dont however believe he belongs in an institution and he does seem sick. Overall, the scenes of the movie have very drab, dull colors. They evoke such depressing feelings-from the gray skies and barren trees outside to the dreary, plain walls inside. Whenever the scene moves outside, it always looks like it just got done raining. Theres actually no
302 ADVANCED COMPOSITION MANUAL 63 vibrancy amongst any colors in the movie until McMurphy steals the bus and picks up his girl Candy. Its the first time we, as viewers get to see so much warm colors-be it the bright yellow bus, vivid red jackets or the vibrant orange life jackets. The sun is bright and the mood is light. Warm colors evoke excitement, happiness, and energy, all of which are great descriptors for these scenes. Its during this time that it almost seems like McMurphy is starting to view the other patients as his buddies. He instills a sense of confidence in them, teaches them things and really brings out their best. While perceptions of color are somewhat subjective, there are some color effects that have universal meaning. Colors in the red area of the color spectrum are known as warm colors and include red, orange, and yellow. These warm colors evoke emotions ranging from feelings of warmth and comfort to feelings of anger and hostility. Colors on the blue side of the spectrum are known as cool colors and include blue, purple, and green. These colors are often described as calm, but can also call to mind feelings of sadness or indifference. While color is constantly changing, it is always seen in relation to the colors it surrounded by. It is almost impossible to see a color by itself and not interacting with its surroundings. to see a bright element in a dull setting really emphasizes the focal point of the scene. For instance, when Billy commits suicide-his pale body on the neutral floor make the crimson blood pop. Its a turning point in the movie and ultimately leads to the demise of McMurphy. This contrast is essential to the actual scene and without it, it would not have the same effect if the floor was a darker color. I believe that color plays a very important role in the movie One Flew Over the Cuckoos Nest. It signifies the mood and emotions consistent with the characters personalities and behaviors in the movie. Additionally, the colors of each scene lay down the groundwork for the tone of each scene and conjure up emotions that one could not necessarily see if the movie was in black and white. The director, Milos Forman, does an excellent job of using warm and cool colors to describe the characters moods and essentially speak for them, even if they arent.
302 ADVANCED COMPOSITION MANUAL 64 3j. Sample #2 A second look is always given to an object that is foreign to the eye. Questions arise in a persons mind as they take the image in of the uncommon because they have never seen the likes of such or very rarely. In an instance, a label is given to that foreign object and is branded different from the rest of the society, which is considered the norm. This foreign object comes in the shape of the color of a person, behavior of an individual, an idea, food or basically any form that is not prevalent in society. The reaction of people to this out of the norm object or subject is varied, but for the most part it is a negative reaction. They allot a name to the object and cast it aside, not considering it a part of their everyday life and society. This was the case in the movie, One Who Flew Over the Cuckoos Nest, where the patients of a psychiatric asylum are individuals struggling with their identities because they have been rejected by society. Coping with rejection of society and finding a place of your own is a struggle that not only the patients go through, but so do individuals in todays globalized world. In todays rapidly growing world there is increased interaction among people of different races. Migration has increased at a rapid rate, especially to developed countries. This has brought a host of people of non-western countries into the West, which to some extent has created friction due to the difference in culture. There has been resistance from the local people toward the migrants because they are seen as people who do not belong to the norm of the local society. They are viewed as the others and perceived as a threat to their civilized and established society. On the other hand majority of the migrants are trying to assimilate into the local society by shedding some of their own skin. The minority of migrants has a similar take as the locals because they see the local society as a threat. Thus, they make a strong attempt to hold onto their roots and culture in order to not lose their identity. They reject the ways of this foreign land they have come to and stick with the people of their own race. Both sides of the spectrum are trying their best to not be tainted by the other because they are not tolerant of change, but fearful of it. This intolerance to change due to being remotely away from what is defined as the norm of society is what the patients have encountered, which resulted in belonging to a psychiatric ward. Their behavior, ideas and mentality were rejected by society and were made to feel highly alienated, that they actually came to believe there was in fact something genuinely wrong with them. The fact that most of the patients are voluntary signifies how harshly society has made them feel like outsiders that they have been left with no choice but to lock themselves away. Upon being with the patients for a little while and seeing how these people are treated as if they were mental, McMurphy realizes in frustration and yells to the patients, What do you think you are, for Chrissake, crazy or somethin? Well youre not! Youre not! Youre no crazier than the average asshole out walkin around on the streets and thats it! The tyrannical Nurse Hatched is a symbol of intolerance and rejection because every single day she makes these patients feel they cannot be out in the world on their own because they need her help to become normal again. She makes them believe what they are thinking is not correct and is unacceptable, which is why it is their need to be here in order to be corrected. Nurse Hatched represents societys fear of the other, which takes over when they come across what is different and inhibits their acceptance. She has the capability of making a giant of a man as Chief Bromden feel as if he is smaller than McMurphy. When McMurphy is trying to convince the Chief to leave with him because it is easier than the Chief thinks, the Chief replies, for you, maybe. Youre a lot bigger than me. Such power by society to make an individual doubt his evident ability is what people need to fear because that is how one loses their identity.
302 ADVANCED COMPOSITION MANUAL 65 With globalization there has been a heightened awareness of the differences in culture, as people belonging to a countless number of different cultures co-exist. However, co-existing does not mean converging. They inhabit the same space, but do not intermingle their beliefs or cultures. This relates to the theory of the clash of civilizations by Huntington that states cultural differences are regarded as immutable and generating rivalry and conflict (Pieterse, 2004). The theory constructs the West as a universal civilization, which is the opposite of the rest of the world that consists of Asian societies. The theory of clash of civilization applies to the patients that represent the rest of the world and Nurse Hatched represents the universal civilization. The patients are looked upon as uncivilized beings that need to be taught the ways of the civilized and until they learn they are to be set apart from the rest of the civilized society. This is because the civilized do not want to be tainted and also because they fear the difference in thinking and how it might spread and infect the civilized world. Another relative theory is of McDonaldization, which discusses how increased global interaction leads to a standardization and uniformization of culture (Pieterse, 2004). This is the goal of Nurse Hatched, to conform the patients mindset and behavior to that of the rest of society. However, if one observes the theory more closely it shows that instead of global homogenization there is global localization (Pieterse, 2004). No matter how hard one tries to create or impose homogenization it is not possible because people will adapt and mold it to fit their own needs. For example a McDonalds in Russia or India may look like a McDonalds here in Virginia, but the atmosphere, the menu, and the meaning the fast food place entails in that society is utterly different. Thus, no matter how hard Nurse Hatched tried and employed various techniques of changing the mentality and behavior of the patients, she did not succeed. Even if she had triumphed in changing the outward behavior of the patients into one that resembled the rest of the society, when looked upon closely the patients would still hold onto their beliefs, which are impossible to rid them of. A third paradigm of globalization is the theory of hybridization, which views the meaning of globalization as the increased intermingling of cultures, symbols, meanings without any clear single trend and will emerge all sorts of things that we cannot predict (Pieterse, 2004). The way people should be treated is not to lock them away from what is considered the norm of society, but instead left to develop their own relationships with people. McMurphy coming in to the asylum and interacting with all the patients made a significant difference, especially in the lives of two people Chief Bromden and Billy. McMurphy was the only one who took the time to treat Chief Bromden as a normal human being and reached out to him despite the taboo of being deaf and dumb. Billy also labels Chief as, a deaf and dumb Indian. However, McMurphy chose to see past this label. The influence opened up Chief Bromden and brought out his real personality, which Nurse Hatched had failed to recognize. This led to the emancipation of Chief Bromden from this life of misery and allowed him to freely breathe in the world. At the end of the movie Chief feels big as a damn mountain. Billy, away from Nurse Hatched lived a few moments of blissful happiness and had an experience that gave him confidence in himself. McMurphy knew what Billy needed to come out of his shell and to live without shame, but Nurse Hatched brought the fear back into Billy by reminding him how ashamed he should be after she tells his mother. This fear instilled in Billy by his mother of his behavior not being normal makes Billy incapable of normal speech. It is not his behavior that causes this instability in him, but the fear inside of him born by his mother because she disapproved of his actions.
302 ADVANCED COMPOSITION MANUAL 66 This mentality of society of perceiving what is remotely different as inferior to the norm has been present since colonization. The people that were conquered were made to believe they were inferior and insignificant, who needed to be civilized. Slavery came into play because a race was seen as lowly that was unable to survive on its own and needed to be disciplined. Such ignorance is still present today, as globalization has shown. As more and more people come into close contact with each other conflict arises because everyone wants to preserve their own identity and are afraid of losing it in the midst of all these different races. Instead of opening their minds to give themselves a chance to learn or even teach, to have an exchange, they choose to close themselves off. Nurse Hatched represents society, which chose to lock away these people that threatened the norm of society, as they feared the beliefs and differences in thinking that these people brought to surface. This repression is still present today, but in a less blatant manner. It is not possible to lock people away in asylums today, but people lock themselves away from anyone different by closing their minds to them and not interacting. The fear of change and the impact on ones life is a very petrifying notion to majority of society. Out of this fear conscious decisions and actions are made in order to protect themselves from being adulterated. However, by not allowing oneself to embrace changes one is cheating not only themselves, but also the rest of the world from seeing what new beautiful things can culminate from this interaction. Whether it means locking away people just because they do not fit into the norm of the society or trying to civilize other societies by uniformity, essentially it is the same regardless of the manner it is conducted in. Cultural hybridization should be allowed, which cannot predict the outcomes, but it does not degrade people and allows them to live with dignity and confidence. Works Cited Pieterse, J. N. (2004). Globalization & culture: global mlange. Lanham, Maryland: Rowman and Littlefield Publisher.
302 ADVANCED COMPOSITION MANUAL 67 3k. Sample #3 Health Policy Affecting Illegal Immigrants Public health policy is one of the most important issues in the United States. While opinions vary greatly on the best method to go about providing health care, it is a need that everyone shares. In the novel Illegal, Paul Levine discusses the many struggles that illegal immigrants face as they try to enter the United States to make a better life for themselves. One of the greatest struggles for many immigrants is dealing with health-related issues while not being eligible for coverage or able to afford health care. There is also the risk of being deported, so immigrants and their children often go without treatment for serious problems. Their lack of treatment is an issue that affects everyone in the United States, not just illegal immigrants. The United States is considered a land of opportunities and a great place for immigrants. Approximately 300,000 to 500,000 undocumented immigrants come to the United States each year (Kullgren). However, the act of getting into the United States illegally is a dangerous one. Many immigrants die in the process. Often, they pay thousands of dollars for a smuggler, known as a coyote, to sneak them across the border. This journey is often unsafe and hazardous to ones health. In the novel Illegal, Levine grabs the readers attention with the following start to a chapter: Rattlesnake bites. Dehydration, exposure, and thirst. Robbery, rape and murder. So many ways to die crossing the border (Levine 113). His characters Marisol and her son Tino flee Mexico to avoid being killed by some powerful men. They pay an untrustworthy coyote to sneak them across the border, but end up being separated in the process. These immigrants are at the mercy of the coyote and they face dehydration, injuries and possibly death in the desert. The dismal terrain for this journey is described by one character as endless miles of dirt, baked hard as concrete. Thorny plants that could rip your eyes out. Minutes earlier, the New River had announced its presence with the sulfurous aroma of floating turdsA deflated Zodiac was stuck on the rocks. The mode of transport for some illegals, risking hepatitis, flesh-eating bacteria, even polio (Levine 170). Undocumented immigrants bring these diseases into the United States. Without proper treatment, they can die and risk infecting many others, including U.S. citizens. According to Jeffrey Kullgren, fear of detection has driven undocumented immigrants to pursue treatments through underground channels, which may have helped fuel the emergence of drug-resistant microbes. This creates even more of a risk to the publics health. The correct method of dealing with this issue is a very controversial topic. While it would be great if everyone had health care coverage, the government cannot afford to fund the health care of all illegal immigrants. In order to reduce the amount of immigrants coming to the United States, the government has tried to limit some of the incentives that immigrants would have had to live here illegally. One way of doing this was to change eligibility requirements for public health care. In 1996, the federal government passed the Personal Responsibility and Work Opportunity Reconciliation Act. This new law declared that undocumented immigrants should not receive any coverage for welfare, disability, retirement, and health benefits. The law does allow for emergency coverage and immunizations for undocumented immigrants, but this coverage is not always enough. The Personal Responsibility Work and Opportunity Reconciliation Act was meant to lessen the strain on government-funded health care programs. However, with preventative care, many of the expensive emergency cases that undocumented immigrants are treated for could be avoided altogether (Kullgren).
302 ADVANCED COMPOSITION MANUAL 68 The issue of public health insurance is a complicated one and is definitely harder for immigrants to understand, since many do not speak English. However, the laws prohibiting undocumented immigrants from coverage do not apply to their children who are born in the United States. These children are native-born; therefore, they are legal United States citizens and are eligible for publicly-funded health care programs such as SCHIP, the State Childrens Health Insurance Program. Unfortunately, these children often go without health care benefits because parents either do not understand the law or fear being caught and deported. In the novel, Illegal, Levine gives an example of a child going without treatment. The father is an illegal immigrant who cannot afford health care and fears being discovered, for he is not only undocumented, but he also is responsible for the car accident that killed the son of Jimmy Payne, a U.S. citizen and lawyer. This man, Manuel Garcia, has a young daughter with asthma. Garcia says that her asthma comes from the dust and pesticides of the cotton fields. Payne asks him if his job provides medical insurance and Garcia replies that it does not. Payne gives Garcia all the money in his wallet and tells him to get his daughter to a doctor. If this girl was born in the United States, she would be provided inhalers and medication through a program like SCHIP, but because of her fathers fears of being deported and insufficient finances, she is forced to go without treatment. Hopefully with Paynes help, Garcias daughter will receive the care she deserves. SCHIP also extends to pregnant women, regardless of their immigration status. These women are eligible for prenatal care, which is extremely important for the health of both the mother and child. The program protects the fetus, who has no immigration status. In Illegal, a wealthy farm owner, Simon Rutledge, hires illegal immigrants to work on his farms. If the women are attractive enough, he has them work at his gentlemans club where he forces them to be prostitutes. Throughout the novel, many women are also attacked and raped during their journey to the U.S., including Marisol. Much of the time, there is a lack of protection and a few of the women in the story become pregnant by Rutledge and other men at the club. These women would be eligible for the prenatal care necessary for a healthy pregnancy; however it is likely that many of them will not be given treatment for fear of being deported. Working conditions for these immigrants are often especially high-risk. They are often employed in agriculture or food services, jobs which can be extremely dangerous and are often unwanted by American citizens. Not only is their personal safety important, but their health can affect the rest of the population with these jobs. If immigrants go untreated for communicable diseases and are dealing with crops and food, it can spread to whoever comes in contact with the product. For example, if a worker on one of Rutledges farms contaminates food with an untreated disease, this can affect people all over the country who buy his goods. Also, if they are injured on the job, sanitation can become an issue. Levine demonstrates injuries on the job with a few examples. In one case, Rutledge discusses his hard working undocumented immigrants and says Once, an Indio from Chiapas chopped off his toe with a machete. He just tied it off at the knuckle and kept on working (Levine 196). This worker not receiving treatment could result in the permanent loss of his toe, infection, as well as many other health risks. If he is working in the crops and that toe ended up in food, it is also a risk for whoever is buying products from Rutlidge Farms. Another example of unsanitary practices in the novel comes when Marisol, an undocumented immigrant, is working at a slaughterhouse. Upon arriving, the immigrants, most of whom do not speak English, are forced to sign documents declaring that they understand the risks and would not seek compensation for injuries occurring on the job. One employee describes the horrors of working in such a place, saying the line had
302 ADVANCED COMPOSITION MANUAL 69 shut down for an hour after a man lost a hand in the meat augur. The woman at the desk made a joke about finger food. (Levine 144). While this woman makes jokes, the health risks involved are incredibly high, especially without any health coverage should something happen. Public health policy has a huge effect on illegal immigrants in this country. Lack of coverage and regular care creates even more health problems that may have been prevented. The novel Illegal highlights some of the horrors that undocumented immigrants face on their journey to the United States, as well as at their jobs and homes. Hopefully, these risks will inspire immigrants to come to the United States legally and be eligible for health care. Until then, public policymakers should focus on reducing the number of illegal immigrants by enforcing border control and weakening the pull factors that drive immigrants to the United States (Kullgren). The publics health is too important to put at risk.
Works Cited Kullgren, Jeffrey T. Restriction on Undocumented Immigrants Access to Health Services: The Public Health Implications of Welfare Reform. American Journal of Public Health. 93. 2003. 1630-1633. Web. 31 Mar. 2010. Levine, Paul. Illegal. New York: Bantam Dell, 2009.
302 ADVANCED COMPOSITION MANUAL 70 3l. Sample #4 Mass Media Effects on Perceptions of Current Affairs No question exists as to whether or not the mass media plays a role in the thoughts and ideas of the audiences it attracts. Just how much of an effect it has on these beliefs can vary from person to person. Paul Levines novel, Illegal, focuses on the perceptions society has on minority immigrants, and the errors existing among these perceptions. The American news media tends to focus on the political issues and potential problems that arise surrounding the immigration of Mexican citizens illegally into the United States. In Illegal, Levine uses a fictional story to depict the feelings and hardships associated with immigration into the country from a minority perspective, while also displaying the mass communication theories of two-step flow and agenda-setting in action. In the field of communications, there are two theories that work together, known as the two-step flow and the n-step theory. These ideas state that people of a community will turn to an important leader or leaders of that community for information (Guth & Marsh.) This assumed leader, known as an opinion leader, serves as a role model for the people of the community, and holds great influence over the communities beliefs regarding certain current affairs (Guth & Marsh.) Opinion leaders are not necessarily clearly defined in accordance with their career path or family tree; rather it is someone who has happened to have grown to be respected and wellliked. What the public may not realize, however, is that the opinion leader gets his or her basic information from the mass media, and perceives that information according to his or her own ethics and beliefs (Guth & Marsh.) Therefore, community members are still receiving their information from mass media outlets, except through the lens of someone they consider to be of high importance. Paul Levine illustrates this two-step flow theory in Illegal, by depicting the different feelings towards immigration in different areas throughout the state of California, the setting of his novel. His depiction proves that similar feelings will exist among members of the same community, since those members are all looking up to the same opinion leaders and receiving similar information. In Jimmy Paynes world, one enveloped in the judicial and law protecting society of Southern California, immigration is looked upon as something not necessarily negative, but not something that should necessarily be overlooked. The people of this community are not faced with immigration concerns on a daily basis, but view the situation through the eyes of the judicial system. They look to court rulings on certain cases for their opinions and information on immigration policies. Jimmy Paynes views on immigration developed from a case he worked on where he witnessed cruelty toward the migrant workers first hand. Sharon, Jimmys wife, sees immigration through the lens of a police officer. Therefore, many of her encounters with illegal immigrants will be negative ones giving her a different perspective than that of Jimmy Paynes. When first meeting Tino, Jimmy and his ex-wife Sharon, are skeptical as to whether or not to associate themselves permanently with the boy, since he is clearly an illegal immigrant. Sharons fianc, who happens to be a conservative talk show host against immigration in its entirety, does not hold the same beliefs as Sharon when it comes to immigration. Sharons skepticism, whether consciously or subconsciously seems to be increased more so than that of Jimmys, due to her husbands influence in her life. Jimmy on the other hand, is more concerned with his own troubles, and does not see the boy as either an immediate threat or someone who needs assistance. This will be the same with anyone who watches her
302 ADVANCED COMPOSITION MANUAL 71 husbands television show on TV. Whether or not they agree with him, they will still remember what he has said, and his opinions will have some influence on their opinions of immigration, whether they reinforce their own opinions, or completely contradict them. Once a person exposes themselves to an idea or opinion, they do not ever completely erase it from his or her memory. A second fictional town in Levines Illegal, farther south of the Los Angeles defense community, laid the town of Rutledge. A farming society, the opinion leader of this town is undoubtedly Simeon Rutledge. Everything in this town is owned by Simeon Rutledge, including a ranch full of migrant workers, brought to him for work on a regular basis. Due to Rutledges superiority in the town, nobody within that community will question his ways or opinions on the workers living and working there illegally. In the Los Angeles community, Rutledge is being closely watched and surveyed, since that public does not agree with his ways of living. These two contrasting towns highlight the importance of an opinion leader. The opinion leaders where a citizen lives will have an influence on his or her beliefs about issues they see in the media. If a person sees two contrasting stories in a media outlet, he or she will be more likely to form their beliefs around those of the people they see on a daily basis. Two-step flow theory assumes the fact that opinion leaders will form their own beliefs according to fair information presented by the different media outlets they are exposed to. However, the fault of that assumption is that many biases exist within the mass media world. These biases, whether purposefully or subconsciously, greatly alter the perceptions of media audiences. Many media stories surrounding immigration from Mexico into the United States assign negative personas to migrants and their families. In a concept known as abstracting, by using the term illegal alien or immigrant for every Mexican citizen journeying into America, the United States people are able to distance themselves from the fact that these people have families, struggles, and individual stories just like those of themselves (Stoner & Perkins.) Paul Levine also enforces an important communications concept known as Agenda Setting Theory in this novel (Guth & Marsh.) This theory insinuates that the mass media, whether or not it is automatically telling people what to think, it is undoubtedly telling them what to think about (Guth & Marsh.) The upper class society members of Los Angeles, like those of Sharon and her husband, the talk show-host, do not deal with the struggles and concerns associated with immigration personally or on a day to day basis. People are concerned with immigration policies and practices because they hear about these things on television, which is what agenda setting theory explains (Guth & Marsh.) In Illegal, stories about immigration portrayed on television range from negative racist comments, to tragic stories explaining what occurred to the migrants on the bus. Neither one of these media outlets actually has the power to inflict a certain opinion about immigration on their audience members; however, they do have the power to make immigration a topic of interest (Guth & Marsh.) Illegal does an excellent job of contradicting media biases towards minorities, by delving into the personal lives of Marisol and Tino, the characters of the migrants in the novel. Instead of portraying the minorities as the law breakers in the situation of illegal immigration, Levine instead portrays the owners of the operations hiring illegal aliens to work for them as the brutal law breakers who are bypassing the conventions followed by other Americans. In many news stories, no regard is given to this notion, and the citizen lawbreakers are given no negative publicity. Paul Levine forces his audience to see the emotion felt by the minorities who are generally given no consideration in the conservative news world. Although there may be some avid media followers who understand this concept, there are many who are oblivious to the fact that the illegal actions taking place may be on the side of the legal citizens. Perceptions and
302 ADVANCED COMPOSITION MANUAL 72 beliefs about current situations are reflections of not only opinion leaders and community feelings, but additionally the media sources from which individuals are acquiring their news and information. All of these factors work together to shape the attitudes individuals have towards certain issues. The issues however, are given to them by the mass media, through agenda setting (McCombs & Shaw.) The mass media influences many different aspects of the opinions of individuals in society. Levine uses the novel Illegal to portray how media outlets do this successfully and under the radar through multiple communication concepts. Both the two step theory and agenda setting theory show how the media can control some of the perceptions of its audiences. These theories are important to the process of information sharing, but without knowing that biases exist, society cannot truly understand the personalities and emotions of the people involved in mass media reports. The goal of mass media audiences is to analyze the information being receive from multiple view points and perspectives. Works Cited Guth, D.W. & Marsh, C. (2009). Public relations: A values-driven approach. Boston, MA: Pearson Education. McCombs, M.E. & Shaw, D.L. (1972). The Agenda Setting Function of Mass Media. Public opinion quarterly, 36. Retrieved from http://poq.oxfordjournals.org/cgi/content/abstract/36/2/176 Stoner, M. & Perkins, S. (2005). Making sense of messages: A critical apprenticeship in rhetorical criticism. Boston, MA: Houghton Mifflin Company.
302 ADVANCED COMPOSITION MANUAL 73 3m. Sample #5 Analyzing Grief in Illegal: Jimmy Payne and the Kbler Ross Grief Model Grief is a complicated and distressing emotional state experienced by everyone at some point in their life. The process of grieving is defined as severe mental anguish, its effects having a profound impact on the sufferers mental and physical health (Jaffe-Gill et al, 2009). Grief is usually attributed to a traumatic loss such as the death of a family member or spouse, but other factors like divorce and job loss can certainly lead to the grieving process. Grief is a common theme located throughout the novel Illegal, as the protagonist Jimmy Payne struggles through the grieving process on a daily basis. Illegal examines the transformation of Jimmy Payne from a hopeless and angry man driven by revenge, to a courageous and caring man finally able to accept the loss of his only child. Along the way Jimmy goes through five stages of grief as defined by noted psychiatrist Elizabeth Kbler Ross. Collectively known as the Kbler Ross Grief Model, these five stages help explain why Jimmy acts the way he does, and what stages he must go through to effectively heal from his loss. Elizabeth Kbler Ross was a psychiatrist and author of the groundbreaking On Death and Dying, a book that dramatically improved the understanding and practices in relation to the grieving process (Maciejewski et al, 2007). Shes credited with developing the Kbler Ross Grief Model, a framework that comprises the five stages of grief humans experience after suffering a tragic loss. Though her work was originally limited to terminally ill patients, her ideas have now become synonymous with emotional response to traumatic loss (Archer, 2001). Her model defines the five stages of grief as denial, anger, bargaining, depression and acceptance (Archer, 2001). While the model effectively details the grieving process, Kbler Ross was quick to point out that not all individuals progress from stage to stage in the exact order of the model. She found that people often jump from stage to stage spontaneously, and can even be actively involved in more than one stage at a time (Archer, 2001). She also discovered that people tend to move forward and backward in the grieving process, thus creating a cyclic loop that repeats previous actions and emotions (Archer, 2001). As a result, the Kbler Ross Grief Model is meant to be a generalization of the grieving process, as Kbler Ross stated: Our grieving is as individual as our lives (Maciejewski et al, 2007). The death of a child is an incomprehensible loss that has an impact on parents for the rest of their lives. As parents grieve for their child, they often develop a new identity shaped by the grieving process itself (Jaffe-Gill et al, 2009). Following Adams death, Jimmy Payne changes from a wonderful husband and loving father, to a man filled with anger and vengeance, his heart devoid of love (Levine, 2009). Jimmys reality is completely transformed by Adams death, the tragic loss having a profound effect on all aspects of his life. His marriage to Sharon ends in divorce, and his once successful law career comes to an end. Jimmy sinks as low as possible, his life serving no purpose other than to hunt down and kill the man responsible for Adams death. All of these events are related to Jimmys grieving process, which begins the day Adam dies. The Kbler Ross Grief Model can be used to detail the cycle of grieving Jimmy endures as he works his way through each of the 5 stages of grief. Denial is the first stage of grieving, and is marked by a conscious or unconscious refusal to accept reality (Arnold, 2008). Some individuals can become stuck in this stage until they are consciously ready to deal with the painful emotions attributed to such a difficult loss (Jaffe-Gill et al, 2009). Denial is caused by the emotional shock of a tragic loss, and is actually a defense mechanism used to protect a grieving individual (Jaffe-Gill et al, 2009). There are numerous
302 ADVANCED COMPOSITION MANUAL 74 instances of Jimmys denial located throughout the novel Illegal. On more than one occasion Jimmy speaks to Sharon as though Adam is still alive. He regularly says things like Maybe let Adam sleep over tonight (Levine, 2009) and Ill pick Adam up early for baseball Saturday (Levine, 2009), even though hes aware Adam has been dead for over a year. In one particular scene, it takes a hard slap to the face for Jimmy to snap out of his denial. Though it hurts Sharon to slap Jimmy, she actually helps him wake up to the fact that Adam is gone forever. When Sharon whispers Adams dead, hes been dead for over a year (Levine, 2009) to Jimmys face, its a sobering reminder of Jimmys reality and the denial hes experiencing as a result of the grieving process. The second stage of the grieving process is anger, which can manifest itself in a number of different ways. This anger can be directed at oneself or others, depending on the circumstance of the loss (Maciejewski et al, 2007). Jimmy feels intense anger throughout Illegal, as he is driven by his desire to kill Garcia, the man responsible for Adams death. When Payne closed his eyes he could see himself crushing Garcias skull, he could hear the bones splinter, could feel the warm stickiness of his blood (Levine, 2009), is one of many examples in which Jimmy imagines himself acting out revenge on Garcia. His anger even forces him to carry Adams baseball bat in his car, just in case he ever comes across the man who killed his son. Guilt is also common in the anger stage, as some individuals feel guilty for the loss that has occurred in their life (Maciejewski et all, 2007). Jimmy often feels guilty for Adams death, even though hes not responsible for it. When he tells Tino It wasnt all Garcias fault (Levine, 2009), he shows that hes suffering from a guilty conscience. Tino does the right thing when he quickly reassures him that hes not to blame for Adams demise, telling him: Your heads playing tricks on you, Himmy. The accident, no way was it your fault, man (Levine, 2009). Once the denial and anger stages have passed, the bargaining stage occurs where individuals resort to bargaining in an attempt to reverse or prolong the loss that has taken place (Maciejewski et al, 2007). This stage is where the grieving individual is most desperate, and willing to do anything in order to change the outcome of their loss. The bargaining stage is often the shortest of the five stages of grieving, especially when death is involved (Jaffe-Gill et al, 2009). Many people turn to a higher power in this stage, attempting to bargain with God to be a better person or complete a certain duty if their tragedy can be reversed or prolonged. As an example, terminally ill patients might try to bargain with God by saying: I promise to be a better person if you heal me from this disease. However, Jimmy never attempts to bargain with God due to his lack of faith and his embrace of nihilism. He even tells Sharon Maybe you should have prayed before Adams death (Levine, 2009), an insensitive remark thats meant to mock her faith. For some individuals, the bargaining stage becomes the stage in which what ifs are pondered (Arnold, 2008). Throughout Illegal, Jimmy reflects upon the what ifs surrounding Adams death. The most telling example from the novel is when Payne says: What if I wasnt looking out the window at the ocean, watching some terns feeding in the shore-break? What if Id been looking straight ahead, maybe Id have seen Garcias truck coming. Maybe I could have done something (Levine, 2009). Jimmys constant what if scenarios only result in increased guilt and depression, as he continues to torture himself over Adams death. Depression is the fourth stage of the Kbler Ross Grief Model. The depression stage consists of a plethora of emotions, ranging from sadness and dejection to loneliness and anxiety. Together, all of these emotions produce depression that is often described as living in a deep, black hole (Maciejewski et al, 2007). This depression can last from weeks to years, depending on the severity of the loss. In fact, this stage of grieving lasts the longest for most individuals, as it is
302 ADVANCED COMPOSITION MANUAL 75 common to revisit this stage numerous times during the grieving process (Arnold, 2008). Individuals should stay in touch with these emotions and express them however possible, whether its by talking with someone or writing them down in a journal. Jimmy occupies this stage of grieving throughout the novel Illegal; however, instead of sharing his emotions with his grieving wife, he keeps everything bottled up inside. This is one of the main reasons Jimmy and Sharon get divorced; the fact that he cant share his feelings and be there for her in her time of need. After the divorce Jimmy becomes even more depressed, as now hes not only lost his son, but also the woman he loves. He goes from living in a nice house with Sharon, to living in a one-story, two-bedroom California bungalow, the perfect home for the unhappily divorced man (Levine, 2009). Jimmys depression gets even worse when he thinks about Sharon with her new fianc, Cullen Guinn: All American looks, a high-paying job, and engaged to the woman Payne still loved. He hated the man (Levine, 2009). Jimmys internal depression usually leads him back to the anger stage, where he then repeats previous stages of the grieving process. Acceptance is the final stage of the Kbler Ross Grief Model. This stage occurs when the grieving individual finally accepts the loss, and is willing to move forward with his or her life (Maciejewski et al, 2007). Eventually grieving does diminish, even when something as tragic as the death of a child occurs. It may take years to work through the grieving process, but in the end the acceptance stage does transpire. This doesnt mean the individual wont continue to grieve in some ways; it means the individual is ready to accept the loss and move on with their life. In the beginning of the novel, Sharon has accepted Adams death while Jimmy refuses to. When she says Our little boy is gone, Jimmy. It doesnt mean we should forget him. But we cant pretend hes still here (Levine, 2009), its her way of telling Jimmy he must learn to accept Adams death. Jimmy enters the acceptance stage the night he finally tracks down Garcia. To this point, all of his denial, anger, bargaining and depression have controlled his life, transforming him into a shell of a man he used to be. Seeing Garcias child in the trailer, and then hearing her cough due to asthma, immediately alters something inside of Jimmy. Upon seeing a father with his child, he stops short of killing the man who killed his own son. When Payne felt something drain out of him (Levine, 2009), hes feeling the release of all the inner grief that has made him miserable for so long. At this moment he enters the acceptance stage, as he refuses to let Garcias child experience life without a father, the way he experiences life without Adam. By not killing Garcia he chooses to accept the passing of his son, and move on with his life. Illegal is a novel that portrays the different stages of grieving an individual goes through after suffering a traumatic loss. The novel not only helps us understand the grieving process as defined by Elizabeth Kbler Ross; it also gives us insight into how lengthy and complicated the grieving process can be. Illegal tells the story of a man who hits rock bottom, but then finds a way to save himself while simultaneously accepting the death of his son. As Jimmy Payne completes his journey through the five stages of grief, each stage represents an important step in his recovery. Initially, all Jimmy desires is revenge for Adams death, though acting out revenge is the one thing he refuses to do in the end. Ironically, Jimmy isnt truly free from his grief until he chooses not to kill the man who killed his son. Further research is needed to build upon the foundation of the Kbler Ross Grief Model, as new studies may explain why some people are able to move through the grieving process much faster than others. This research may also examine why the same traumatic loss can affect two people in such a different way. Adams death had a dramatic effect on the lives of both Jimmy and Sharon; however, the way in which they handled their grief was completely different. Factors such as support structure, grief counseling and religious background are certain to play a
302 ADVANCED COMPOSITION MANUAL 76 role in the grieving process, and further research is required to examine just how much influence these external factors have. Until new research leads to these answers, the Kbler Ross Grief Model will continue to characterize and represent the grieving process that individuals endure after a traumatic loss.
References Archer, John. (2001). Broad and Narrow Perspectives in Grief Theory. Psychological Bulletin, Vol. 127, No. 4, 554-560. Arnold, J. & Gemma, P.B. (2008). The Continuing Process of Parental Grief. Death Studies, Vol. 32. 658-673. Jaffe-Gill, E., Segal, J. & Smith, M. (2009). Coping with Grief and Loss: Support for Grieving and Bereavement. Retrieved March 18, 2009 from http://helpguide.org/mental/grief.htm Levine, P. (2009). Illegal. New York: Bantam Books. Maciejewski, P.K., Zhang, B. & Block, S.D. (2007). An Empirical Examination of the Stage Theory of Grief. Journal of the American Medical Association, Vol. 297, No. 7, 716-727.
302 ADVANCED COMPOSITION MANUAL 77 3n. Peer Review Form Title of Entry: ________________________________ Author of Essay: __________________ Reviewer#1: ______________________ I. Introduction Is the subject defined clearly? Is the thesis or main idea of the article clearly presented? Is the thesis/analysis clearly presented? Any contextual information included? If not, should it be? If so, should it be somewhere else? Comments:
II.
Coherence/Organization: Clear method of organization (section by section, thematic, logical)? Clear well developed coherent paragraphs? Balanced? Are any sections/paragraphs too long or too short? Should any text be moved or eliminated? Any digressive/unnecessary words or sentences? Comments:
III.
Support/Content: Does the analysis avoid summarizing the text? Are there enough examples and details to support major themes? Is the critique well researched? Are there too many/ not enough quotations or direct textual references? Does the critique critically engage the subject? Interesting take on the topic? How might the support be strengthened? Comments:
Point of View/Audience Appeal: Is the essay free of distracting shifts in points of view? Does the essay accomplish its intended purpose with the audience in mind? Does the essay catch the readers attention? Does the author cite borrowed material? Comments: IV.
302 ADVANCED COMPOSITION MANUAL 78 Reviewer #2: ______________________
Please comment and offer suggestions on the grammar and style of the essay. Please consider the following: 5. Word choices (good verb choices, descriptive adjectives and adverbs); 6. Sentence variety and combining thoughts (avoid monotonous repetitive sentence structure); 7. Punctuation (use commas correctly); 8. Run-on sentences or sentence fragments; 9. Pronoun antecedent reference agreement. Please list or mark two sentences that are particularly well written: 1. 2. Please list or mark two sentences that need attention: 1.
2.
302 ADVANCED COMPOSITION MANUAL 79 CHAPTER 4: RESEARCH/GRANT PROPOSALS PART 1: WRITING A RESEARCH PROPOSAL 4a. PROMPT: FOLDER PART A ..80 4b. PROMPT: FOLDER PART B ..81 4c. GOALS OF THE ASSIGNMENT..82 4d. WHAT IS A GRANT .....82 4e. HOW TO LOCATE A GRANT .82 4f. WHAT IS THE PURPOSE OF A GRANT PROPOSAL ...83 4g. WHT SHOULD A GRANT PROPOSAL CONTAIN ...83 4h. SECTION 1: STATEMENT OF THE PROBLEM ... 84 4i. SECTION 2: BACKGROUND INFORMATION (REVIEW OF THE LITERATURE)....84 4j. SECTION 3: METHODOLOGY ...84 4k. SECTION 4: RESULTS/SIGNIFICANCE OF THE RESEARCH ......84 PART 2: OTHER ELEMENTS OF THE PROPOSAL APPLICATION 4l. COVER LETTER ...85 4m. CV/RESUME ...87 4n. BIBLIOGRAPHY .89 4o. PRESENTATION ..89 PART 3: SAMPLES AND WRITING GUIDES 4p. REVIEW OF THE LITERATURE HANDOUT90 4q. SAMPLE PROPOSAL #1...92 4r. SAMPLE PROPOSAL #2 ...............94 4s. SAMPLE PROPOSAL #3 ...99 4t. SAMPLE PROPOSAL #4 .104 4u. PEER REVIEW FORM ... 110
Part 1: Writing a Research proposal

4a. Folder Part A: Analyzing and responding to a Scholarly Article (20 points) Task: Your task is to find, to read carefully, and to critique a scholarly article in your discipline related to a theme to be addressed in your research proposal. The scholarly article must be peer reviewed, a minimum of 4000 words, and located in the GMU library databases or in the periodical section of the Fenwick Library. I recommend highly the following databases: JSTOR, Project Muse, Proquest Research Library, and Academic Search Complete. After locating the article, you must critically examine the text and engage in a dialogue with the author. This means you should critique how well or how poorly the author employs elements of structure, use of English, use of reputable sources, and, most important, content. You may, but not required to, research the claims made in the paper using other reputable (i.e. scholarly) sources, such as peer reviewed articles, books, and textbooks. Document Length and Design: Your essay should be about 600 words long. It must be typed, doublespaced, one-inch margins, and your name, class (302 __), date, and assignment #2 Part A in the upper right corner of the first page. OUTLINE FOR A SCHOLARLY ARTICLE CRITIQUE This outline is very general. Use it at your discretion. You may choose to focus on some aspects and not others, but I expect content analysis to be central to the paper. I. Introduction A. Author of the article. Is the author an expert? B. Overview of the article what is the general argument of the text? C. Your thesis How effective is the article? Example, While the author skillfully addresses the history of the movement, he offers nothing new in his interpretation of the text. Or, The author provides few details and offers no evidence for her position; she relies on ad hominem attacks and straw man arguments. II. Evaluation evaluate and explain whether the argument is sound or not. Consider the following items: A. Content: i. Does the author provide enough background information? ii. Does the author provide sufficient evidence primary sources, secondary sources (i.e. expert opinion), facts, textual references? iii. For what purpose does the author write the article? a new discovery, an interesting take on a topic, introducing a subject not well-known. iv. Does the author logically develop her argument? Objective reasoning? Are there any logical fallacies? v. Based on your knowledge of the topic, is any evidence flawed or inaccurate? Respond to any inaccurate or misleading information. B. Structure: a. Is there a logical development of the thesis? b. Is the introduction clear and informative on the topic? c. Are the ideas balanced and well constructed? C. Use of English a. Audience Does the author consider the audience? Is the text for specialists? For students? b. Does the author effectively convey her information through good word choices? III. Conclusion A. What would the author have to do to improve the article? B. Final thoughts
302 ADVANCED COMPOSITION MANUAL 81 4b. Prompt: Folder Part B: Writing a Research Proposal (10 12 pages in total) (80 Points) For this assignment you will design a project proposal to apply for the Rudnicki Fellowship. To accomplish this task, you must, first, read the Rudnicki Fellowship call for applications carefully, and you must locate two other grants/fellowships in your field of study. Second, after completing step one, you must choose a topic that is current and requires additional research. Third, please complete thorough background research on the topic. Third, you must design a project that adds something new to the field and that has a chance to be accepted. Descripiton of the Rudnicki Fellowship: The Rudnicki Fellowship is a newly developed fellowship that encourages applications from university students developing current or questioning past research in their particular fields of study. The fellowship provides a living stipend for the length of the project which should be conducted over a period of two academic semesters (about one full year). The length may be slightly extended depending on the project. The topic options are open to all fields, but they should be unique to the students discipline. The fellowship does encourage one semester involving coursework at any university and research that is guided by a professional mentor, followed by a semester of fieldwork that is relative to the direction of study. Location choice is not specific, but it must be relevant to the topic and enhance research in a meaningful way. If responding to this fellowship opportunity, applicants are required to provide an extensive introduction to the background review research regarding the chosen topic, a methodological layout of coursework and fieldwork plans, and a description of how the results will be disseminated, such as a publication in a scholarly journal or attendance at a conference. This list is not exclusive as there may be several other options that can meet the grant requirements for completion of the research. In some cases a presentation may be required. In addition, the submission packet should include the following items: 1) a cover letter; 2) description of the grants; 3) a resume/CV; 4) a detailed outline of the proposal; 5) the main proposal; 6) a bibliography of 12-15 sources; 7) annotated bibliography of 4-5 sources used in the proposal. Topic: Please choose a topic that explores area(s) of concern in your field of study. You should discuss with a specialist or research in the GMU libraries interesting subjects that could be a lively topic for an extended research project. You will enter the discussion by framing the debate and what you propose to add to it. This is not a research paper, but it does require research to provide background data for a lengthy, in-depth paper. As a result, you will be required to provide a bibliography of 12-15 sources that you could use in a one-year or onesemester fellowship. In your proposal you do not have to refer to all of the sources, but the proposal should be based on 4-5 sources from the bibliography.
4c. Goals of the assignment: 1. 2. 3. 4. 5. 6. To understand and to find hot topics in your field; To evaluate and to review relevant sources to a specific research project; To learn how knowledge is constructed in your discipline; To develop a clear method or plan of research; To assess possible outcomes of research in your discipline; To discover the various institutions, associations, and research organizations in your discipline; 7. To write an effective cover letter and resume; 8. To begin to construct potential plans for your future in your profession.
4d. What are grants? Governmental or nongovernmental organizations that promote research by funding it in a variety of fields: humanities, social sciences, natural sciences, and business (to name a few). The funding allows a researcher to carry out a project. The length of a grant for undergraduates and graduate students can be one month, one summer, one semester, one year, or two years. For professionals, the length may be up to ten years or longer. We will be focusing on a one year grant for this assignment. Grants cover most of the researchers expenses including living accommodations, research materials, travel, and a living stipend. The living stipend for undergrads is usually not a large amount, but enough to get by. In addition, researchers usually affiliate with a university to assist in carrying out the research. The grantee may take classes, carry out experiments, or consult with experts in the field at that particular institution.
4e. Where to find grants? A. A general Google search may be productive. You can simply use your discipline and the word grants: Philosophy grants B. GMU grants and Fellowship site offers many opportunities for Mason students. The grants office assists students with the application process. Your success is their success, so if you would like to apply for a grant or fellowship, please contact them as soon as possible. Web site:
http://www.gmu.edu/depts/saa/fellowships/
C. Michigan State University has a great web site for funding opportunities: http://staff.lib.msu.edu/harris23/grants/3subject.htm D. Fulbright is a great government grant for undergrad and grad students who wish to pursue research that builds cross cultural understanding. The researcher would carry out the research in another country. Web site: http://www.iie.org/Template.cfm?section=Fulbright1 E. Smithsonian offers interesting grants for those interested in history, folklore, and digital media. Web site: http://www.si.edu/ofg/fellowopp.htm F. You can probably find many other opportunities through contacting professionals in your discipline, particularly academics in the field. I encourage you to contact an adviser or a Professor with whom youve had a good relationship.
302 ADVANCED COMPOSITION MANUAL 83 4f. What is the purpose of a fellowship/grant proposal? To convince the committee that you are qualified, and that your project is meaningful, unique and feasible. Proposals vary in length from two to 20 pages or more. Follow instructions carefully and always know the audience. This holds true for applications to graduate school as well. 4g. What should a fellowship/grant proposal contain? 1. Statement of the problem. What is the major discussion that you will take part in? What is at stake? This is a general introduction. What makes you capable of completing the project? What are your qualifications? 2. Background research/ Review of the Literature: What has already been done in the field? This section requires thorough research of the subject matter utilizing 4-5 sources. This should funnel to your unique contribution. This should also be about half of the proposal, so in an 8 paged proposal the background section should be around 4 pages. What is your hypothesis? What do you hope to accomplish with the project? What is exciting, new or unique about your work? 3. Methodology: Where do you propose to conduct your study or research? Why is it important to go to that specific place to carry out your project? With whom do you propose to work? How will you carry out your work? 4. Results: Where and how will the results be disseminated? How will your project help further your academic or professional development? What contribution/significance will this make to the field? Suggested outline for Fellowship/Grant Proposal:
Introduction Statement of the problem A. A very general introduction of yourself and why you are qualified B. What is the problem or issue you will be addressing and how? General summary of the research and methodology II. Background and more details on research and approach A. Background in the shape of a funnel leading to your contribution B. Details on research texts - primary and secondary sources you will use C. Uniqueness what makes this project interesting, unique, and timely? III. Methodology A. How will you proceed in the research? 1. Take classes language, theory, practical explain what they will add to your project 2. Examine archives, libraries, museums, labs, health centers explain how they will add to your project 3. Discussions/study with an expert explain how it will add to your project. B. Reasons for studying in this particular place university, city C. General dates of the research: be fairly specific on your proposed calendar. IV. Results Where and how will the results be disseminated? A. Publications B. Masters thesis C. Teaching D. Work advancement I.
4h. Section 1: Statement of the Problem Introduce the topic with a general overview of the issue at hand and how you propose to tackle it. You should include what the topic is, why it is unique or necessary, and a brief mention of the plan to carry it out. It is somewhat similar to an encyclopedia entry introduction in that it is an overview of the project. 4i. Section 2: Review of the Literature (Background Information) A. Where to find information? For books: Library catalogues, amazon.com, google books, net library. For articles: Library databases JSTOR, Academic Search Complete, Proquest, CQ Researcher, For web sites and online sources: Google, Google scholar, or any other search engine. B. How to arrange the review of the literature section? The section should imitate a funnel (general to specific). In other words, start from general information and then proceed to detail past and current research on the topic. This should then lead to your contribution to the subject. What will you add to the topic? Why is your research unique? This section should comprise about half of the proposal. For example, if the proposal is 2400 words long, the review of the literature should be approximately 1200 words. C. See the appendix for more details on a traditional review of the literature section. 4j. Section 3: Methodology - Ways to carry out research? The methodology lets the committee know how you will carry out your research. It also shows the committee that you are capable of managing a project individually. You have the necessary intellect and discipline to complete the project. Be sure to make the project feasible and manageable. You are not attempting to cure an incurable disease; you should aim at something you may actually succeed in. In developing a strategy or methodology to carry out your research, you may want to consider the following: Taking University courses; Conducting research at specialized centers; Working in archives; Consulting with an advisor/expert; Conducting experiments in the field; Using Community centers. 4k. Section 4: Results of the Research There are many possible results that may come from a grant. The committee wants to know what you will produce at the end of the grant and how you will disseminate the knowledge. Here are some possibilities: A publication in a reputable journal in the field; A presentation at a conference; A website on the topic; An updated manual; A practical application of the research.
PART 2: OTHER ELEMENTS OF THE PROPOSAL APPLICATION 4l. Cover Letter The cover letter should include an introduction of the author, a brief overview of the subject of the research and why it is timely, and contact information. It should be written in a formal tone in business letter format. Remember this is your first contact with the committee, so put your best foot forward. I encourage you to use career services to assist you in writing a cover letter: http://vimeo.com/11165965 Outline for cover letter: A. Include all of the addresses in a business format B. Open by providing basic information about yourself and describe briefly why you are applying. C. Highlight why your education, relevant experience, and your project is a good match for the fellowship. Be sure to examine the purpose of the grant. D. Close by providing contact information and thank the committee for considering your application. E. Sign the document
302 ADVANCED COMPOSITION MANUAL 86 Sample cover letter (Please note this is not a perfect cover letter, but it dows contain all of the necessary parts): Student name 3300 University Drive Fairfax, VA 11111 June 19, 2007 Affiliate Research Services 415 North Charles Street Baltimore, MD 21201 Return address
Date Inside address
Dear Committee: Salutation Please accept my application for a grant to study at the Mid-Atlantic Research Consortium Center in Baltimore, MD. I will graduate in May 2009 from George Mason University with a Bachelor of Science Degree with a Major in Nursing. From this experience I expect to expand my knowledge of cardiovascular diseases and treatments in order to be able to improve patients outcome. I plan to distribute numerous patient satisfaction surveys and assess them accordingly. In addition, I intend on evaluating the pain of cardiac patients and working to find new, improved practices to treat and alleviate chest pain. This research will allow me to obtain knowledge that is essential for my career field. Cardiovascular diseases are the number one killers of Americans today. By further developing knowledge in cardiology, I hope to improve cardiac patient care, sequentially enhancing patient satisfaction. Throughout my college experience, I have studied a great deal of human anatomy and physiology; in turn I have become fascinated with the study of the cardiovascular system. The previous knowledge that I have obtained through my nursing courses will be essential to understanding the basic studies of my research. My experience in the electronic intensive care unit, as well as other medically-related volunteer services, has prepared me for the responsibilities that accompany this research. I am eager to enhance my knowledge in of cardiology and welcome the challenge that this program presents. Thank you for considering my application and proposal. I may be contacted either through email at J@gmu.edu or by telephone at (703) 222-1111. I look forward to hearing from you in the near future. Closing Sincerely, Student signature Signature Student name Typed Name
302 ADVANCED COMPOSITION MANUAL 87 4m. CV/Resume Format for Academic Curriculum Vitae The following curriculum vitae outline will give you an example of what to include in your academic CV and shows the appropriate format for a curriculum vitae. Be sure to make it aesthetically pleasing to the eye not too many spaces in between lines and keep a balance throughout. Use a normal sized font (example New Roman 12 or Arial 11) for all of your information and you may consider using a slightly larger size for headings (example New Roman 14 or Arial 14), but you should check to see if it looks appealing or not. I encourage you to add to the experience section. In other words, if you have plans to volunteer or intern somewhere, please list it as upcoming. I also encourage you to list at least two professional organizations that you belong to (even if you do not belong as of yet. For example, English majors usually join the Modern Language Association. You can find associations in your field through a simple Google search. Example: philosophy associations. If you have nothing to list in a category, please delete the entire category. Do not put NA or something like this. These categories are to help you organize your activities or to encourage you to develop skills in your field. Lastly, if you would rather use a different template, I encourage you to use the resume builder provided by Career Services: http://careers.gmu.edu/jobfair/prep/resumeBuilder.cfm
302 ADVANCED COMPOSITION MANUAL 88 CONTACT INFORMATION Name Address City, State, Zip Telephone Cell Phone Email EDUCATION: List your academic background, including undergraduate and graduate institutions attended. Undergraduate Institution, City, State Degree, Major, GPA (some separate overall GPA from their major GPA) Date of Graduation SELECT COURSES AND ADDITIONAL TRAINING: List courses or trainings that are relevant to the position. EXPERIENCE: List in chronological order, include position details and dates. FELLOWSHIPS AND INDEPENDENT PROJECTS: List internships, fellowships, and independent projects include the organization, title and dates. AWARDS AND HONORS: LICENSES / CERTIFICATION: List type of license, certification or accreditation and date received. PUBLICATIONS: PROFESSIONAL AFFILIATIONS (MEMBERSHIPS): SKILLS / INTERESTS:
302 ADVANCED COMPOSITION MANUAL 89 4n. Bibliography The bibliography should be in APA or MLA format. This should include at least 12-15 sources. You do not have to use all of these for the review of the literature section, but you should have a solid list of articles and books that you may use during your research time. I require at least five scholarly books, five scholarly articles and whatever else you need additional articles or books, web sites, manuals, etc. 4o. Presentation You are required to present your proposal to the class (acting as the committee) the last week of class. While your proposal does not have to be in finalized form, it should be in a very advanced stage. Be prepared and speak clearly and directly to the committee.
302 ADVANCED COMPOSITION MANUAL 90 PART 3: SAMPLES AND WRITING GUIDES 4p. Review of the Literature handout How to Write a Review of the Research Also Called a Literature Review or a Review Article In a review of the research, the writer

defines and clarifies the issue(s) or problem(s) specified summarizes previous investigations in order to inform the reader of the state of current research identifies relations, contradictions, gaps, and inconsistencies in the literature, and suggests the next step or steps in solving the problem
Unlike the writer of a researched report, who tends to formulate a question and research answers for it, the review writer develops a question and then looks at how other researchers in published studies have answered this and related questions. The writer then analyzes the points these studies have made and determines how each has addressed the question(s). Finally, the writer synthesizes (brings together) information from the other studies as evidence for each of the points that s/he is going to make. Adapted from the Publication Manual of the American Psychological Association (4th ed) Here are some steps to follow: 1. Identify and develop a research question/main idea. Example: Research shows that diversity training often fails in workplaces. In what ways does it fail? What needs to be done to have successful diversity training? 2. Read the research studies on your topic critically. Look for the authors main purpose, the points s/he makes, how the points are supported (what kinds of evidence is used), whether the evidence seems strong and persuasive, and the conclusions that are reached. 3. Look for the points that emerge as you read the research studies relevant to your question. Based on the ideas you see being repeated, outline some main points to address in your review. Example: Some key points in the literature on why diversity training programs are not working are 1) organizations are not managing diversity, 2) diversity training is focused on differences and not on the valuing of diversity, 3) training programs are not inclusive of the organizations entire workforce. 4. Decide what studies support each of the points you have outlined. You may use studies more than once if they are relevant to more than one point in your outline.
302 ADVANCED COMPOSITION MANUAL 91 APA Example: While there have been dramatic changes in the workplace, workplace policies have not altered accordingly (Perrewe et al, 1999; King, 1996; Adams et al, 1996). 5. Use material from the studies as evidence for your points, bringing together material from multiple sources to show the ways in which various studies have addressed the same or similar points. 6. Organize your review, e.g. Overview of Issue, Review of Literature, Conclusion, References/Works Cited Page. 7. Cite and document sources appropriately. Be sure to introduce the research studies appropriately in your text as well, using a documentation style relevant to your field, e.g. APA, MLA, Chicago, CSE. (Handouts on specific citation style are available in the writing center in Robinson A 114) 8. Use material from the studies as evidence for your points, bringing together material from multiple sources to show the ways in which various studies have addressed the same or similar points. 9. Organize your review, e.g. Overview of Issue, Review of Literature, Conclusion, References/Works Cited Page. 10. Cite and document sources appropriately. Be sure to introduce the research studies appropriately in your text as well, using a documentation style relevant to your field, e.g. APA, MLA, Chicago, CSE. (Handouts on specific citation style are available in the writing center in Robinson A 114)
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302 ADVANCED COMPOSITION MANUAL 92 5q. Sample Proposal #1: Political Science http://www.willamette.edu/dept/saga/national/study_proposals/samplefulbright.htm National Fellowships: Study Proposals: Sample Fulbright Proposed Statement of Study or Research The Women's Alliance of Iceland: Politics, Feminism and Change I propose to research the Women's Alliance (WA), a political phenomenon unique to Iceland, at the University of Reykjavik in fall of 2002. I will focus on the historic events leading up the creation of the Women's Alliance, and the events that led them to join a coalition after declining support. I propose to do this through coursework at the University, independent research, and interviews with former members of the Women's Alliance. Beginning with the Icelandic women's slates of the 1920s, to the protests of the Redstockings in the 1970s, Icelandic women have had a rich history of political involvement. Many Icelandic women believe they have a unique culture distinct from men, and this distinction led them to create their own political party--the Women's Alliance. The WA began as a feminist organization in 1983; one of their initial actions was to form a list of female candidates in order to get more women elected into parliament. By the late 1980s, the WA had formed a successful full-platform political party with a non-hierarchical, rotational system and enjoyed a wide range of support from the community and in parliament. As a result of changes in international women's issues and in Iceland's political climate during the early 1980s, Icelanders elected the first woman president and the first woman mayor of the capital city, Reykjavik. Despite these advances, the WA began to lose popular support as other parties, namely the Independence and Progressive Parties, also included women on their slates. In 1999, the WA formed a coalition with two other small leftist parties, abandoning their stated policy of excluding men from their lists. The Women's Alliance continues to work within this coalition. The manifesto of the WA and their actions are a curious blend of international, Scandinavian, and Icelandic feminist movements, a heterogeneity that many feminist and political scientists have ignored. The Women's Alliance was active from 1983-1999 as an independent political party, and aside from the national "Women's Day Off" strike of the 1975, and election of Vigdis Finnbogadottir in 1980, American scholars have all but ignored the actions of Icelandic feminists. Few articles about the WA were published in English in the mid 1980s, whereas there is almost a complete absence of materials published in English past the mid 1990s. I will focus on why the group separated, and what the future holds for the WA and women's political involvement in Iceland. The WA existed for less than two decades, but has left an indelible mark on the landscape of Icelandic politics.
302 ADVANCED COMPOSITION MANUAL 93 Although I am well grounded in Icelandic politics and feminist history and possess a working knowledge of the Icelandic language, I will build on my understanding through course work, research, and interviews. Two principal leaders of the former WA, Sigrithur Duna Kristmundsdottir and Holmfridur Gardarsdottir, now teach at the University of Reykjavik. During my first semester I will take "Small States in the International System," and brush up on my Icelandic language skills. Second semester I will take women studies courses taught in Icelandic by former members of the Alliance (textbooks are in English). The University and National Library in Reykjavik house The Women's History Archive, where numerous documents, records, minutes, speeches, and essays donated by the Women's Alliance reside. I have already compiled a list of primary sources from my preliminary research. However, with such limited published information, there will be no substitute for interviews. I have already contacted members of the former Women's Alliance and a member of the new coalition, the Social Democratic Alliance, and these women have offered their enthusiastic assistance in researching the relatively undocumented political phenomenon that was the Women's Alliance. I propose to leave the US on approximately the 31st of August 2002, and arrive in Reykjavik to begin language training and political science and women's studies course work for one academic year. Upon completing my research, I intend to publish an article on women in Icelandic political parties. This project will provide insight into Western and International feminist and political influence on Iceland, and the impact that women in Icelandic parties have on present and future Iceland. This research project will assist me in my goal of attaining a Ph.D. in International politics, with a focus on women's role in politics.
302 ADVANCED COMPOSITION MANUAL 94 5r. Sample Proposal #2: Nursing

Outline for Fellowship/Grant Proposal I. Introduction Statement of the problem: Nosocomial infections are a huge problem worldwide. A. I am qualified through studies and clinical experience in nursing and working in multiple hospitals. B. Problem of nosocomial infections will be researched through taking classes relative to the subject and performing field research in hospitals. II. Background A. Explanation of the infections; National statistics of infection B. Hus research conducted on maximum sterility barriers in catheters C. Uniqueness Nobody else has done research based upon geographical location III. Methodology A. Procedure 1. Summer semester: Columbia-N9260; G4010 2. Fall semester: Columbia- N359; BIO 447 1. Pediatric intensive care unit- New York Presbyterian Hospital 3. Spring: work in suburban Kingston Hospital 4. Attend the annual conference on antimicrobial resistance 5. Discussions/study with an expert Patricia Stone Associate Professor of Nursing at Columbia B. Columbia is ranked one of the best universities for pediatrics, also in association with teaching hospital in the inner city (needed for geographical comparative research) . IV. Results what happens as a result of your research A. Publications: New York Journal of Medicine B. Medical school preparation C. Decrease incidence of nosocomial infection
Introduction Nosocomial infections are a major problem in hospitals worldwide. As a nursing student I have seen the difficult problems caused by these infections first hand every day. I have done clinical in a number of hospitals and performed rounds on every unit. During this time I came to realize the severity of the occurrence of nosocomial infections and their enormous burden on hospitals, medical professionals, and most importantly; patients. I also noticed certain trends in these infections. Pediatrics seemed to have a higher prevalence of infection. Also, hospitals I worked in that were located closer to the city had a positive correlation with higher prevalence. I wish to conduct extensive research on these infections in pediatrics and the correlation to geographical location. Background A nosocomial infection is a new infection that develops in a patient identified forty-eight to seventy-two hours following admission. In the United States, the Centers for Disease Control and Prevention estimates that roughly 1.7 million hospital-associated infections, from all types of bacteria combined, cause or contribute to 99,000 deaths each year. The incidence of nosocomial infections has been on the rise since the introduction and increased use of invasive procedures. The most common hospital-acquired infections are urinary-tract infections, surgical-wound infections, pneumonia and bloodstream infections. And at least 80 percent of urinary-tract
302 ADVANCED COMPOSITION MANUAL 95 infections can be attributed to the use of invasive devices such as the catheter. [7] The high incidence of nosocomial infections places a huge burden on both the patients and the healthcare system. For patients with these infections, wound healing and rehabilitation is delayed significantly with possible prolonged hospitalization and an increased risk of morbidity. The average prolongation of stay is 3.8 days for urinary infection, 7.4 days for surgical-site infection, 5.9 days for pneumonia, and 7 to 24 days for primary bloodstream infection. [4] Some infections, such as infection occurring in a hip or knee replacement, result in prolonged or even permanent disability and require repeated rehospitalization and reoperation. Nosocomial infections also cause mortality. The case-fatality rate for patients with ventilator-associated pneumonia is 42 percent, with an attributable mortality of 15 to 30 percent. For nosocomial bloodstream infection, the case fatality rate is 14 percent, with an estimated attributable mortality of 19 percent. [7] The burden on the healthcare system is also very heavy. The financial cost of nosocomial infections is huge. In the United States the direct cost of nosocomial infections is estimated by the National Institute of Health to be about 4.5 billion dollars per year. These infections cause prolonged hospitalization in patients, which limits access of other patients and contribute to overcrowding and increased risk of spread of infection. Nosocomial infections are also a leading cause in the emergence of antimicrobial resistant organisms. An antimicrobial substance is used to kill or inhibit the growth of microorganisms. Antimicrobial substances such as disinfectants and antiseptics are used for the treatment or prevention of infections, which facilitates the emergence of resistant organisms. Because this is such a pressing issue, there has been extensive research conducted in the field of nosocomial infection. A cost-effectiveness analysis was done at University of Michigan by Kent K. Hu to determine the effect of maximal sterile barriers (MSBs) on reducing central venous catheter-related nosocomial infections [8]. They created an analytic model in which a patient could either have a central venous catheter without the extra sterility or a maximal sterile barrier, then calculated the total direct medical costs and incidences of catheter-related infections and the costs that they would ensue. The study found that because the huge cost pinned with the resulting infections, the maximal sterile barrier catheters were found to be more cost effective than the cheaper central venous catheters. The Use of MSBs lowered costs from $621 to $369 per catheter insertion and decreased the incidences of catheter-related bloodstream infections from 5.3% to 2.8%. [4] Other, more simplistic measures of prevention have also been researched and incorporated to fix the problem of nosocomial infections. One of the first researchers in the field of hospital-acquired infections is Dr.Ignaz Semmelweis worked in a maternity ward in Vienna in the 1840s. He made the observation that medical students were coming straight from lessons in the autopsy room to the delivery room and proposed that they were transferring harmful bacteria from the cadavers to the birthing mothers. Semmelweis ordered that everyone who enters the maternity ward must first wash their hands, the mortality rate in his ward dropped all the way down to less than one percent. Still today however according to the United States Centers of Disease Control and Prevention (CDC), "Hand washing is the single most important means of preventing the spread of infection.". What has not been done however is extensive research on geographical, hospital size and socioeconomic factors that play in to the prevalence of nosocomial infections. What makes my research different from what has already been done is that it applies statistical analysis of hospitals to the implementation of specialized programs. In this way prevention programs can be
302 ADVANCED COMPOSITION MANUAL 96 tailored to hospitals according to their needs, for example, a certain hospital may have an increased susceptibility to certain bacteria or strains. Methodology To complete my research in nosocomial infections, I will to split my studies into a preparatory summer study and fall and spring semesters. The first summer courses will be concentrated on preliminary research and introduction to field experience. The following fall semester I will continue my studies at Columbia University, a world renowned research institute. US News Report ranked Columbia #8 in best overall national universities. Columbia School of Medicine has also done a great deal of research in the area of nosocomial infections. The grant would provide education and field work in association with Columbia's Center for Interdisciplinary Research to Reduce Antimicrobial Resistance. Patricia W. Stone, RN PhD, Associate Professor of Nursing at Columbia University School of Nursing has agreed to be a mentor to guide both my university based education and independent study. Patricia Stone would be an excellent mentor for my research and studies because she has worked on a similar grant herself. This grant was done on the Prevention of Nosocomial Infections and Cost-effectiveness Analysis which was funded by the National Institute of Nursing Research, National Institute of Health. Because of her experience and knowledge in the area of nosocomial infections, Stone would provide optimal guidance for me. During the summer at Columbia University, I will to take two courses to assist me in my research. Building Interdisciplinary Research Models (Nursing 9260) is a three credit course taught by Elaine Larson, PhD, RN, designed to advance research methodologies in acquiring scientific knowledge through a combination of readings and lectures in each necessary aspect essential to successful interdisciplinary research. In addition to this course, I also will to take Responsible Conduct of Research and Related Policy Issues (G4010) , a one credit course taught by Richard Kessin and Co-Instructor Jamie Rubin which will provide additional training in proper research conduct. Supervised field experience in interdisciplinary research on antimicrobial resistance is also provided and encouraged while studying at Columbia University. Melissa Marx, an epidemiologist at New York City Department of Health and Mental Hygiene has agreed to be a mentor in supervised field work in association with Columbia's School of Medicine. In addition to the summer courses I will to attend the annual Conference on Antimicrobial Resistance. This annual conference is sponsored by the National Foundation for Infectious Disease. The NFID is a non-profit organization active in education the public and healthcare professionals about the causes, treatment and prevention of infectious disease. The conference will be held in Bethesda, Maryland from June 23rd to the 25th. The conference topics will be focused on potential solutions to the problem of antimicrobial resistance. This conference will increase my scientific knowledge of origin, prevention and control of problematic microbes. Attending will also serve to expand my network of important contacts and acquaintances that are also active in the field of research and could assist me in my endeavor. During the fall semester at Columbia University with the help of my mentors I will to begin active field work and research in New York Presbyterian Hospital, the university hospital of Columbia. This portion of my research is to gather data about a large city hospital in order make a comparative analysis of a suburban hospital and the incidence of nosocomial infections. Columbia is ranked nationally by US News Weekly in 14 different specialties, including pediatrics. I will to take NURS 359 Health Promotion and Disease Prevention in Pediatrics, and
302 ADVANCED COMPOSITION MANUAL 97 BIO 447 Microbial infectious disease. I will work as a nurse on the pediatric intensive care unit at the New York Presbyterian Hospital and study the incidence of nosocomial infections that occur. I will keep detailed notes of the variation of types of nosocomial infections and the duration and debilitation level of each case, in accordance with the patient confidentiality restriction laws. I will also distribute surveys to healthcare professionals that work at the hospital to determine the measures of prevention taken by the staff at the hospital. The survey will include the estimated number of times for employee hand washing, patient bed change and use of catheters. During the spring semester I will to leave Columbia's teaching hospital for a much smaller suburban hospital upstate New York. Kingston Hospital is a very small, 150 bed hospital specializing in acute surgical care. Because most nosocomial infections occur after surgery, this hospital is an excellent place to continue in comparative research of nosocomial infections. Here I will continue documenting incidence of disease for the same amount of time while working as a nurse on the pediatric intensive care unit and continue gathering staff information on prevention methods through surveys. In this way by the end of the year I will have obtained enough information to make an accurate comparative analysis of the treatment, cause and control of nosocomial infections in the pediatric intensive care unit of small hospitals verse the incidence in large hospitals. Results Through conducting this research I hope to find useful correlations that may be used to create hospital-specific infection control programs. This will work to decrease the incidence and spread of nosocomial infections. I will publish my findings in the New York Journal of Medicine, where the majority of my research will be conducted. I will greatly advance my knowledge through both academics and conducting field work. I tend to apply to medical school in 2014 to study to become a Pediatrician, completion of this research will make me a better current nurse and a better prepared future doctor. Most importantly, I will make a significant contribution to the ongoing research in combating hospital-acquired infections.
References [1] Chief Medical Informatics Officer. (2009, April 15). Most hospitals fail to meet quality standards, including heart guidelines. Retrieved from http://www.cmio. net/index.php? option=com_articles&view=article&id=17113:most-hospitals-fail-to-meet-quality-standardsincluding-heart-guidelines&division=cmio [2] Hart, C. (1998, September 5). Antimicrobial resistance in developing countries. British Medical Journal, 317(7159): 647650. Retrieved from https://www.ncbi.nlm.nih.gov /pmc/articles/PMC1113834/ [3] Huskins, C. & Goldmann, D. (2005). Controlling meticillin-resistant Staphylococcus aureus, aka "Superbug". The Lancet, 365(9456), 273-5. DOI: 785960751. [4] Kardar, S. (2005). Antibiotic resistance: new approaches to a historical problem. Retrieved April 11, 2010 from action bio sciences website http://www.actionbio science.org/newfrontiers/kardar.html (2010, March). MRSA survivors network; the MRSA epidemic - a call to action. TB & Outbreaks Weekly, 174. DOI: 1991745281. [5] Kluytmans-VandenBergh, M, Kluytmans J., & Voss, A. (2005). Dutch Guideline for Preventing Nosocomial Transmission of Highly Resistant Microorganisms (HRMO). Infection, 33(5-6), 30913. DOI: 923919461.

[6] Noble, D.. (2009). Patient education on MRSA prevention and management: The nurse's vital role. Medsurg Nursing, 18(6), 375-8. DOI: 1927080771. Sawchuk, M. (2007, April). Keeping hospitals healthy. CMM magazine, 44(4). Retrieved from http://www.cmmonline.com/article.asp?IndexID=6636602 Winstein, K. (2008, October 22). One big antibiotic dose fights MRSA, study says. Wall Street Journal (Eastern Edition), p. D.6. DOI: 1580307541. [7] World Health Organization. (2002, February). Antimicrobial resistance. Retrieved from http://www.who.int/mediacentre/factsheets/fs194/en/ [8] Hu Kent K. Use of Maximal Sterile Barriers during Central Venous Catheter Insertion: Clinical and Economic Outcomes CID November 15. 2004:39 [9] Andreoli, T. E., J. C. Bennet, C. C. Carpenter, and F. Plum. Cecil Essentials of Medicine. Philadelphia: W.B. Saunders Co., 1997 [10] Lister, P. D., Wolter, D. J., Hanson, N. D. (2009). Antibacterial-Resistant Pseudomonas aeruginosa: Clinical Impact and Complex Regulation of Chromosomally Encoded Resistance Mechanisms. Clin. Microbiol. Rev. 22: 582-610 [11] Lynch, R. J., Englesbe, M. J., Sturm, L., Bitar, A., Budhiraj, K., Kolla, S., Polyachenko, Y., Duck, M. G., Campbell, D. A. Jr (Measurement of Foot Traffic in the Operating Room: Implications for Infection Control. American Journal of Medical Quality 24: 45-52 (2009). [12] Singh, A., Goering, R. V., Simjee, S., Foley, S. L., Zervos, M. J. Application of Molecular Techniques to the Study of Hospital Infection. Clinical Microbiology Review 19: 512-530 (2006).
302 ADVANCED COMPOSITION MANUAL 99 5s. Sample Proposal #3: Ecotourism I. Outline of Proposal to Develop a Sustainable Events Management Model Introduction A. Academic and professional background in tourism and events B. Sustainability in both tourism and events C. Synopsis of methodology Background and detailed approach A. Background of the field 1. Development of the sustainable tourism field 2. Focus areas and facilitating sectors 3. Application of tourism concepts to events B. Research texts 1. Sustainable tourism and events management textbooks 2. Journals and research reports C. Uniqueness 1. Addresses lack of research on and practice of sustainable events management 2. Research based project with practical applications Methodology A. Research Plan 1. Overview of plan and timeline 2. First semester studying sustainable tourism 3. Second semester studying events i. Work directly in the field ii. Develop events management facilitating sectors B. Study in Europe because of focus on Tourism and Events C. Study will be conducted in 2010-2011 according to course calendar Results A. Submission of article B. Submission of research report outlining practical application C. Present a workshop at ISES annual conference Proposal to Develop a Sustainable Events Management Model Statement of the Problem As a Tourism and Events Management major at George Mason University, I have studied the development of both tourism and events in relation to a destination. Through specialized courses in sustainability and heritage and cultural tourism, I have researched issues in sustainability related to tourism planning and development. With the development of tourism and events into a global industry, sustainability is becoming more of a concern. The concept of sustainable tourism has been advancing over the past few decades as the tourism industry has grown in destinations varying in scale in both developed and lesser developed countries. The field of events management is also growing, and there is a need to research the impacts and sustainability issues of events. Current research on sustainable events management is limited, and often focuses on one area of sustainability.
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302 ADVANCED COMPOSITION MANUAL 100 I intend to apply the previously developed research model for sustainable tourism to events management, focusing on environmental, economic, and socio-cultural impacts of events. In applying the concepts of sustainable tourism to events management, it is my goal to develop a comprehensive sustainable events management model. Research will be conducted through academic inquiry to clearly define the current model of sustainable tourism and gain a greater understanding of the academic concepts related to events management. I will also utilize collaboration with industry organizations, interviews, and participant observation to apply the current sustainable tourism model to events management. The bulk of my research will be carried out in Europe, where academic focus of the industry leans toward tourism and events management more so than hospitality, as is the case in the United States. My research will be focused on festivals and special events, but outcomes can be applicable across the spectrum of events, such as meetings, conventions, incentive travel, expositions, weddings, and sporting events. Background The impact of tourism and events on a destination or host community is a developing global concern. The development of the study of sustainable tourism progressed parallel to the evolution of the tourism industry. According to Jafari, there are four platforms in the development of post-war tourism: advocacy, cautionary, adaptancy, and knowledge-based. The concern of the tourism industrys impact on a global scale developed during the cautionary platform, but the model and methods to appropriately address and handle those impacts was not developed until the adaptancy and knowledge-based platforms (Weaver 4-9). The concerns of tourisms global and local impacts led to what is now known as the study and practice of sustainable tourism. The field of sustainable tourism focuses on three main areas of sustainability. Environmental, economic, and socio-cultural sustainability are all included in the comprehensive measure of the impact of tourism. Environmental sustainability focuses on the environmental effect that travel and tourism has on a host community, as well as the environmental effect of travel on a global scale. Economic sustainability concentrates on two areas, the economic impact and benefit to a destination as well as the economic viability of tourism companies and suppliers. Socio-cultural sustainability not only fosters greater understanding between groups, but seeks to eliminate cross-cultural conflict and misunderstanding between both tourists and host community members. Because of the broad reach of the tourism industry, sustainability studies must identify facilitating sectors and their environmental, economic, and socio-cultural impacts. Facilitating sectors are all of the elements which contribute to the tourism industry, including travel planners, restaurants, wholesalers, accommodation, and transportation providers. By identifying issues and solutions related to sustainability in the facilitating sectors, one can gain a better understanding of tourism sustainability as a whole (Weaver 73-88). The majority of relevant research focuses mainly on tourism and does not include the impact of the events industry. Events are a global industry closely intertwined with the field of tourism and both events and tourism have an academic and practical focus on the destination or host community. The research and practical applications related to event sustainability typically focus on one area of sustainability, most often the environmental effect of events. David Weavers Sustainable Tourism briefly mentions special events in relation to sustainability and tourism destinations. Weaver recognizes that it is surprising that remarkably little has been written on the subject of sustainability in special events and that negligible consideration has been given to the issue of sustainable event accreditation. Weaver names events such as the
302 ADVANCED COMPOSITION MANUAL 101 1991 World Student games in the United Kingdom and the International Environmental Film and Video Festival in Toronto, which both feature elements of tourism sustainability, specifically environmental and socio-cultural (Weaver 147). Festival and Special Events Management, Second Edition also briefly touches on the issue of sustainability in events management. The text mentions all three areas of the sustainable tourism model without explicitly identifying the alignment. The authors note that Great emphasis is often placed on the financial impacts of events and that All events have a direct social and cultural impact on their participants, and sometimes on their wider host communities (Allen et al 25-26). Environmental impacts of events are also mentioned and in the interest of minimizing negative effects and promoting environmental sustainability, event managers are cautioned to be aware of the environmental impact of events they are planning. Similarly to the reviewed texts, industry journals typically focus on one specific area of sustainability rather than addressing a comprehensive view. Information and Empowerment: The Keys to Achieving Sustainable Tourism featured in The Journal of Sustainable Tourism focuses solely on the socio-cultural aspect of sustainability. The article recognizes that Local community participation is a widely accepted criterion of sustainable tourism but delves into deeper discourse regarding socio-cultural sustainability arguing that environmental issues and the natural environment has remained a central theme of sustainable development and sustainable tourism, overshadowing the important early works on socio-cultural issues in tourism (Cole 629-630). Events Management, a leading journal in the academic and professional field of events, often features articles that focus on the socio-cultural or environmental effects of festivals and special events on a host community, but rarely make the connection to overall sustainability. In the article, Oaxacas Indigenous Guelaguetza Festival: Not All That Glistens is Gold, the author uses Guilaguetza as a vehicle to discuss the impacts that festivals have on a destination, specifically focusing on the threat of commodification and commercialization that threatens sustained authenticity of the cultural festival. Whitford chooses to focus her research on environmental impacts, economic impacts, and political impacts. While all of her findings are valid and insightful, a comprehensive, industry-wide standard for evaluating event sustainability would allow for comparison and collaborative research. My research will focus on creating a comprehensive model for sustainable tourism with research based findings and practical applications. In developing this model, I will use the comprehensive sustainable tourism model, as well as the current fragmented research on sustainability and events management. By applying the sustainable tourism model of environmental, economic, and socio-cultural sustainability to events, intra-industry collaboration can reduce the negative impacts of tourism and events and promote positive effects for host communities. Developing this model will demonstrate that festivals and special events, as well as smaller community-based events, provide economic opportunity and can actually promote environmental conscientiousness and cross-cultural interpretation and understanding. By creating a model that is applicable across the industry, this research can stimulate further inquiry and develop practical applications in the field. Methodology While I have a basic knowledge of the concepts related to sustainable tourism and have experience in the field of event management, to fully develop sustainable events management research, I will need to use further inquiry and practical knowledge. My research into event sustainability will include academic research, collaboration with industry partners and
302 ADVANCED COMPOSITION MANUAL 102 organizations, and field work through participant observation, interview, and photographic documentation. My methodology is based upon a year-long study divided into academic semesters. My first semester will be devoted to gaining a better understanding of sustainable tourism and the environmental, economic, and socio-cultural sustainability model. The University of Surrey will be the base university for my studies. I intend to work closely with Professor John Tribe, Professor of Tourism and Subject Group Leader at the University of Surrey. Professor Tribe is Co-Chair of the United Nations World Tourism Organization Education Council and Editor-in-Chief of Annals of Tourism Research. Professor Tribes industry knowledge and connections will prove extremely beneficial in both the academic portion of my research, as well as in field work. While studying at the University of Surrey, I intend to take two courses in the fall semester, Sustainable Tourism and Research Methods. I have taken similar courses on the undergraduate level, but these graduate courses will establish a strong basis for my research throughout the year. In addition to course work, I will begin examining the World Tourism Organization archives and their global sustainability efforts, as well as reviewing educational materials from the International Special Events Society and the International Festivals and Events Association to gain practical and research-based knowledge of the field. The second semester of my study will focus more on the development, implementation, and evaluation of festivals and special events. I will conduct interviews with festival and special event managers and will start research directly in the field. I will also observe festivals and special events of varying scale, from small community events, to larger festivals in the United Kingdom during my studies. Through participant observation, I will be able to identify best practices and detrimental procedures. These practices will be documented photographically and supported by interviews with participants. In addition to the field work of my second semester, I will also conduct research regarding the components of festivals and special events. A key to understanding sustainable tourism and subsequently sustainable events management is the awareness of the facilitating sectors. I will investigate and identify the facilitating sectors that contribute to the events industry to better distinguish and explain the sustainable events management model. The conclusion of my research will be to apply the knowledge gained in my first semester of study to the practical knowledge and research related to events management. In creating a sustainable events management model, I will mirror the applications of sustainable tourism and apply them to the specific elements of event management. Studying in the United Kingdom will allow me to gain a greater knowledge of both the tourism and events fields. American universities typically focus more on the hospitality industry as opposed to tourism and events, so to gain the needed knowledge, I will need to study and have access to texts and individuals based in Europe. The University of Surrey is also a leader in tourism research and is the home to the Tourism Research Group. I will study at the University of Surrey and the surrounding areas during the 2010-2011 school year, following the university course calendar. Results Upon completion of my research, I hope to publish an article outlining the sustainable events management model, using specific case studies identified during my research. An article will be submitted to Events Management to reach the academic community. It is my hope that by laying the foundation for research in sustainable events, future researchers will find the model beneficial in evaluating case studies and developing future research. Because my research will also have practical applications, I will submit a report to the Convention Industry Council
302 ADVANCED COMPOSITION MANUAL 103 outlining my findings. The Convention Industry Council focuses mainly on meetings and conventions, but the festival and event related research will be applicable across the event management spectrum. As a capstone to the practical aspect of my research, I will submit to present a workshop at International Special Events Society (ISES) Eventworld 2011. Event dates and locations have yet to be finalized, but the event is typically held in the spring, aligning with the conclusion of my research. In the ISES workshop, I will present my findings to leaders in the festival and special events industry, and provide attendees with research-based next steps to make their events more environmentally, economically, and socio-culturally sustainable. Bibliography Allen, Johnny et al. Festival and Special Event Management. Second Edition. Milton: John Wiley & Sons Australia, Ltd, 2002. Festival and Special Event Management examines events from multiple perspectives, academic and practical, student and professional. The text focuses on event management as a whole and includes research-based facts and studies while promoting practical applications. The text also has a section devoted to impacts of festivals and special events. The authors do not necessarily go deeply into sustainability, but list potential detriments to sustainability. Boyko, Christopher T. Oaxaca's Indigenous Guelaguetza Festival: Not all that Glistens is Gold. Event Management 11:4 (2008): 161-177. Cole, Stoma. Information and Empowerment: The Keys to Achieving Sustainable Tourism. Journal of Sustainable Tourism 14:6 (2006): 629-644. Cole advocates strongly for a greater emphasis on socio-cultural interest in sustainability. Citing that current research focuses mostly on environmental impact, Cole provides interesting insight into the hierarchy of sustainable needs. Combating the idea that one area of sustainability is more important or more relevant than other is central to my research in developing a comprehensive model. Herremans, Irene. Cases in sustainable tourism: an experiential approach to making decisions. New York: Haworth Hospitality Press, 2006. Jones, Meegan. Sustainable Event Management: A Practical Guide. London: Earthscan, 2010. Kilkenny, Shannon. The complete guide to successful event planning. Ocala: Atlantic Pub. Group, 2006. Kruger, Martinette, Melville Saayman, and Andrea Saayman. Sociodemographic and Behavioral Determinants of Visitor Spending at the Klein Karoo National Arts Festival. Event Management 13:1 (2009): 53-68. Mair, Judith and Jago Leo. The development of a conceptual model of greening in the business events tourism sector. Journal of Sustainable Tourism. 18:1 (2010): 77-94. Weaver, David. Sustainable Tourism. Oxford: Elsevier, 2006. Sustainable Tourism is an all-encompassing text on the subject of sustainable tourism. Weaver outlines the components of sustainability, facilitating sectors, and specific case studies. The text focuses on the effect of tourism on a destination or host community. Sustainable Tourism offers a basis for any research related to sustainable tourism. This broad basis of knowledge allows for a cross-discipline application. Watt, David. Event management in leisure and tourism. Essex: Addison Wesley Longman, 1998.
302 ADVANCED COMPOSITION MANUAL 104 5t. Sample Proposal #4: Theater Departure from Tradition: Reporting on Living Japanese Theater Introduction of the Problem: Beyond N, Kabuki, and Bunraku As a theater major at George Mason University, I have read my share of general theater texts; and, as a student of Japanese language and culture, I have puzzled over the coverage of Japanese theater in each text in turn. Book after book presented me with basic overviews of the same three traditional performing arts courtly n, spectacle-based kabuki, and puppet bunraku , leaving me with the impression that these conventionalized art forms accounted for all theater in Japan. Now, as a graduating senior and a trained theater researcher who has independently explored the subject, I know better; and I wish to expand on and share my new knowledge, exposing students worldwide to the living theater of Japan. Using the resources granted me by the Japan Fulbright Fellowship for Graduating Seniors, I propose to compensate for the gap in current popular coverage of contemporary Japanese theater by studying the theater community at Waseda University, Tokyo. Using online communication technologies, I will present the activities and viewpoints of Wasedas theater students and faculty to students worldwide, providing a window into the living world of Japanese theater. At the same time, I will use the material I gather to examine theater curricula and theater-going habits among the students, providing scholars with a glimpse into youth theater culture and education in Japan. Background: Japanese Traditions, Western Assumptions Though several other traditional Japanese performance forms have also survived to the present day, n, kabuki, and bunraku stand as icons of Japanese theater, for Westerners and Japanese alike. The master artist Zeami codified n in the late 1300s and early 1400s (Ortolani 96-98); n plays, originally intended for a courtly audience, tell stories steeped in classical literary, historical, and mythological allusions. They focus on the slow, carefully-controlled movements of a central masked actor, accompanied by music and narration. Kabuki, a popular theater form contrasting starkly with aristocratic n, developed in the 1600s. Emphasizing elaborate costumes and scenery and exaggerated, stylized acting, kabuki plays drew their melodramatic plots from history, current events, and popular novels and served as vehicles for star actors. Bunraku arose at the same time and treated similar subject matter as kabuki but starred large puppets, manipulated by three handlers, instead of live actors (Ortolani xiii). Today, these three traditional forms continue to exist and to draw audiences in Japan. However, while it includes, draws from, and reacts to n, kabuki, and bunraku, Japanese theater in the 20th and 21st centuries has also responded to many other influences and evolved into many other forms. Shimpa theater, developed in the early 20th century, combines the melodrama of kabuki and the realistic conventions of Western naturalists (Powell, Japans Modern 12-13). The originators of shingeki, or Japanese dialogue-based theater, on the other hand, modeled their productions entirely on Stanislavski and Chekhovs realism, rejecting all kabuki conventions. Shingeki, in turn, inspired rejection by the underground angura left-wing theater of the 1960s and 1970s (Rolf, Tokyo 86), blurred into dystopic surrealism and nostalgic spectacle in 1980s theater (Tadashi 88-92), and re-embraced its naturalistic roots in the hyper-realistic quiet theater of the 1990s and 2000s (Hasebe 20-21). Yet textbooks fail to capture the vital flow of these movements, instead focusing largely on the three traditional forms. Textbook editors have consistently accepted n, kabuki, and bunraku as the true Japanese performing arts, and have devoted, and continue to devote, more coverage to these three traditional forms than to any modern Japanese theatrical form. In 1997, Carol Fisher Sorgenfrei,
302 ADVANCED COMPOSITION MANUAL 105 scholar and translator of Japanese theater, published an article surveying the coverage of Asia in then-current theater history textbooks (223). In her review of seven major texts, including Oscar Brocketts History of the Theatre and Wilson and Goldfarbs Living Theater: A History, Sorgenfrei found only one text (John Russell Browns The Oxford Illustrated History of Theatre) that covered modern Japanese theater in any detail (243). According to Sorgenfrei, the remaining texts all focused on the accepted traditional Japanese theater forms (223-258). A review of current anthologies of world drama, of the sort used in general survey courses, reveals the same discrepancies in coverage that Sorgenfrei noted in 1997 texts. While the texts editors include n, kabuki, and bunraku works, few include more recent works and, when these editors do include modern plays, they choose works already several decades old. Through this omission of truly current work, they misrepresent Japanese theater as conventionalized and unchanging, far removed from the living, active theatrical world which young United States students experience at home. Lee A. Jacobus 2005 fifth edition of The Bedford Introduction to Drama, a leading anthology, presents a representative example. Though it includes two Japanese works, both pieces come from the traditional repertoire: the n play Lady Han, written by Zeami, and The Love Suicide at Sonezaki, by bunraku and kabuki master playwright Chikamatsu Monzaemon (1653-1724). The texts Contemporary Drama chapter contains no Japanese works; and an examination of the texts supplementary website reveals a continued exclusion of modern Japanese theater, with all of the provided links covering the three traditional arts (Jacobus). Other major drama anthologies follow suit. Abandoning even the more recent classical forms of bunraku and kabuki, Edwin Wilson and Alvin Goldfarbs 2006 third edition of Anthology of Living Theater contains only the n play Sotoba Komachi, by Zeamis father, Kanami Kiyotsugu. Mike Greenwald, Roger Schultz, and Roberto Dario Pomos 2004 revised edition of The Longman Anthology of Drama and Theater: A Global Perspective assembles a broader selection, with three Japanese plays. Yet here, too, Zeamis n play Komachi at Sekidera and actor Namiki Gohei IIIs kabuki drama Kanjinch place the emphasis on centuries-old theatrical forms. The one modern play Kobe Abes The Man Who Turned Into a Stick dates from the 1960s; and its abstract, avant-garde style may seem as remote and timeworn to young students as that of the traditional plays. Similarly, The Wadsworth Anthology of Drama, edited by W.B. Worthen, names the theater trends that emerged in the 20th century but focuses on traditional theater and dated avant-garde theater in its included texts. In this anthologys introduction to its final chapter, World Stages, shimpa and shingeki receive mention (1356-1358). Yet, as does the Longman text, the Wadsworth cuts Japanese theater off in the 1960s: In addition to the n play Matsukaze and the kabuki classic Chshingura, it includes one modern work but the play, Satoh Makotos My Beatles, premiered in 1969. With general introductory theater texts (such as Brocket and Robert J. Balls The Essential Theatre) continuing this past-centric trend, textbook editors deny student readers the opportunity to connect with global theater. In my own experience, students have difficulty finding relevance to their own lives in even such established Western classics as the works of Shakespeare or Anton Chekhov. If students must struggle to engage with familiar classic plays, how can textbook editors expect them to relate to an unfamiliar culture solely through plays distant from their own experience in time as well as place? How can students engage with international theater if no theater text offers them an up-to-date, human image of theater abroad, a theater living in the present and the future as well as in the past? Only a more immediate,
302 ADVANCED COMPOSITION MANUAL 106 dynamic form of coverage can bring the reality of living Japanese theater home to students outside of Japan, inviting these students to explore and embrace Japanese theater as relevant to their own lives and as part of a global continuum of theatrical arts. Methodology: Reporting on the Present, Looking Towards the Future I hope to provide students with the dynamic coverage that current texts lack, by immersing myself in a living Japanese theatrical institution over the 2008-2009 school year. While in place at such an institution, I will gather multimedia documentation of theater events and education, contextualize and provide background information for these resources, and make them available online to students and teachers worldwide. In order to provide a general view of theater in Japan, the institution I attend must provide a strong theater curriculum but not limit its instruction to any particular discipline or facet of the theater arts. As the best fit for this requirement, I have chosen Tokyos renowned Waseda University, a historical center of Japanese theater. At the turn of the century, Tsubouchi Shy, a professor, translator, and writer known for championing the adoption of realism in Japanese theater, lectured at Waseda. In 1906, Tsubouchi helped found Bungei Kykai (the Literary Association), a small theater school whose students came largely from Wasedas English literature department; the school presented plays by Shakespeare, Chekhov, and other Western notables and strengthened the shingeki movement (Powell, Japans Modern 23, 26-28). Later in the century, Waseda students gained fame as prominent members of the underground angura movement and internationally influential playwright-directors: For example, Suzuki Tadashi, cofounder of New Yorks SITI Company with Anne Bogart and head of the Japanese theater company SCOT, graduated from Waseda (Powell, Japans Modern 180). Today, Waseda University offers a major in theater and film arts under its undergraduate School of Letters, Arts, and Sciences. The university also maintains the Tsubouchi Memorial Theater Museum, founded in memory of Tsubouchi Shy, which houses exhibits and an extensive library, both open to the public. In addition, the museum serves as a research institution for comparative drama studies. Upon arriving in Tokyo a week prior to September 29 (the beginning of the Fall 2008 semester), I will take my place as a one-year unaffiliated student in Wasedas School of International Liberal Studies (SILS). SILS English-language liberal arts courses mix native Japanese and foreign students; studying in this institution will provide me with an opportunity to further my Japanese-language skills and gain both English- and Japanese-speaking connections within the university. During my first semester, I will take Japanese language classes to strengthen my current 300-level abilities and general courses in Japanese theater to add to my knowledge base: The program offered classes including Performance Arts and The Splendor of Kabuki during the 2007-2008 school year. During my second semester, I will continue to study language as a SILS student and to take courses in drama and cultural studies to fill whatever gaps remain in my understanding of Japanese theater culture. In addition to taking courses at SILS, I will seek out theater students and professors in Wasedas main, Japanese-language-only schools. With the support of my research contacts, associate professors Andrew Martin and Osamu Wada (both members of the Tsubouchi Museums Institute for Theater Research), I will collect information on and from both students and professors using a variety of means. From professors, I will request interviews on teaching techniques and curriculum choices, permission to sit in on class sessions for observation, and copies of syllabi and required reading lists. From students, I will work to gain friendship and acceptance as an observer and eventually an equal participant in student rehearsals, drama
302 ADVANCED COMPOSITION MANUAL 107 club activities, and theater-viewing outings. Taking advantage of the Tsubouchi Memorial Theater Museum, I will use the publiclyavailable materials there to research subjects which my participant-observer studies bring to my attention and to broaden my familiarity with Japanese theater texts and playscripts. In preparation for study in Japan, I have recently read Brian Powells Japans Modern Theatre: A Century of Change and Continuity, an overview of the past two centuries in Japanese theater, and am currently reading Benito Ortolanis The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism, which covers the development of Japanese theater from prehistory to the present day. While in Japan, I intend to further expand my exposure to theater texts through study of the seven-volume anthology Half a Century of Japanese Theater, a collection of notable plays from the 1950s through the 1990s, selected and annotated by the Japan Playwrights Association. Combined with subscriptions to the University of Hawaiis Asian Theatre Journal and major Japanese theater magazines such as Engekikai, Teatoro, and Higeki Kigeki, I will have access to all of the resources necessary for me to converse intelligently on Japanese theater with my research subjects and to write and speak on both the most current and most ancient trends in Japanese theater. As I gain insight into what professors and students value, enjoy, and emulate as well as what they dismiss and reject in the theater arts, I will record this information, with the permission of my subjects, using photographs, video, and text. While formal interviews and surveys on favored artists, curriculum construction, career plans, theater-viewing habits, and past theater experience will serve to gather some material, I intend to gather most through less formal means and in less formal environments, focusing particularly on the daily life of students. As I collect these materials, I will make them available online through a daily blog, hosted by the Wordpress service. Through this blog, subtitled student and professor interviews, short videos of rehearsals, photographs of events, text records of students reactions to classes and productions, summaries of class curricula, and a wide range of other samples representative of Waseda theater students lives and studies will provide students worldwide with the window into living Japanese theater that current texts fail to offer. Clear, easily-understood background information, compiled from my research at the Theater Museums library, will give context and explanation to any references that Western students may not immediately understand. In addition, a final, scholarly article will track the trends I note in theater curricula and assigned texts at Waseda, examining the similarities and differences between what professors value and assign and what students value and seek out in theater. Significance of Research: Reminders of Vitality Upon completion of this project and return to the United States, I will have created a multimedia resource describing the study and perception of theater by an upcoming generation of Japanese theater artists. This resource will provide a view of Japanese theater very different from those currently offered by English-language theater texts. With the assemblage of this resource and the study that goes into its creation, I hope to further several goals. Above all, I hope to present an example for further international theater studies to follow. Where current general theater texts and anthologies fail to present Japanese theater (and many other non-Western theater cultures) as living art, the multimedia collage of materials I collect will reveal Japanese theater as unequivocally vital. By viewing these materials, students, professors, and scholars worldwide will recognize Japanese theater as a living, evolving, multifaceted field influenced by and including the traditional arts of n, kabuki, and bunraku but also constantly growing and changing in response to domestic and global influences, just as
302 ADVANCED COMPOSITION MANUAL 108 all active theater cultures grow and change. Hopefully, theater students and researchers will take inspiration from this project and go on to study the theater of Japan or other non-Western countries through immersion and participation, breaking down the boundaries of time, distance, and generalization that past and current coverage tend to erect and encourage. I hope also that this project will prepare me to better serve as a theater artist in the emerging global age. Immersion in Japanese theater culture for a year will help me develop a better understanding of the language, the artistic values, the presentational conventions, and other unique cultural aspects found in Japanese productions and playscripts; this understanding will aid me in translating plays from the Japanese for English-language production and in advising United States directors presenting Japanese plays. The contacts I establish within the Japanese theater field during the year will also guarantee me a continuing connection with Japanese theater culture. Together with my experience in Internet communications and reportage gained from the project, I will have acquired the skills and information sources necessary to continue maintaining, refining, and updating my online Japanese theater blog and attached information database. As a means of supplementing current tradition-focused texts, suggesting new fields of theater study and information presentation, allowing students the opportunity to connect with theater cultures abroad, and encouraging exploration and perception of theater worldwide as living and dynamic, this project will directly further the Fulbright Programs promotion of intercultural exchange and understanding. The project will also prepare me, personally, to promote cultural exchange in my own professional work as a theater artist and academic. In consideration of the studys potential contributions to both the global theater community and the individual artist, I offer this proposal to the Japan Fulbright Program. Bibliography Addison Wesley Longman. Longman Anthology of Drama Online. 2001. Pearson Education. 16 Nov. 2007 <http://occawlonline.pearsoned.com/bookbind/pubbooks/greenwald_abl/index.html>. Beeman, William O. The Anthropology of Theater and Spectacle. Annual Review of Anthropology 22 (1993): 369-393. Brandon, James R. Time and Tradition in Modern Japanese Theatre. Asian Theatre Journal 2.1 (1985): 71-79. Brockett, Oscar G., and Robert J. Ball. The Essential Theatre. 8th ed. Belmont: ThomsonWadsworth, 2004. Downer, Lesley. Madame Sadayakko: The Geisha Who Bewitched the West. New York: Gotham, 2003. Eppstein, Ury. The Stage Observed: Western Attitudes Toward Japanese Theatre. Monumenta Nipponica 48.2 (1993): 147-166. Goff, Janet E. The National Noh Theater. Monumenta Nipponica 39.4 (1984): 445-452. Goodman, David. Angura: Posters of the Japanese Avant-Garde. New York: Princeton Architectural, 1999. Goodman, David. New Japanese Theatre. The Drama Review 15.2 (1971): 154-168. Greenwald, Mike, Roger Schultz, and Roberto Dario Pomo, ed. The Longman Anthology of Drama and Theater: A Global Perspective. Revised ed. New York: Longman, 2004. Greenwald, Mike, Roger Schultz, and Roberto Dario Pomo, ed. The Longman Anthology of Drama and Theater: A Global Perspective, Compact Edition. New York: Longman, 2001.
302 ADVANCED COMPOSITION MANUAL 109 Hasebe, Hiroshi. The Sense of Being Alive: Japanese Theater in the 1990s. Introduction. Half a Century of Japanese Theater: 1990s, Part 1. Ed. Japan Playwrights Association. Tokyo: Kinokuniya, 1999: 11-24. Hironori, Terasaki. Trends in the Japanese Theatrical World. Trans. Got Yukihiro. Asian Theatre Journal 1.1 (1984): 104-108. Jacobus, Lee A., ed. The Bedford Introduction to Drama. 5th ed. Boston: Bedford-St. Martins, 2005. Jacobus, Lee A. The Bedford Introduction to Drama. 2005. Bedford-St. Martins. 16 Nov. 2007 <http://bcs.bedfordstmartins.com/jacobus/>. Jacobus, Lee A., ed. The Compact Bedford Introduction to Drama. 5th ed. Boston: Bedford-St. Martins, 2005. Japan Foundation. Performing Arts Network Japan. 8 Nov. 2007. Japan Foundation. 9 Nov. 2007 <http://www.performingarts.jp/>. Japan Playwrights Association, ed. Half a Century of Japanese Theater. 7 vol. Tokyo: Kinokuniya, 1999-2004. Klens, Deborah S. Theatrical Palimpsest: Tokyo 1992. The Drama Review 37.3 (1993): 166170. Mori, Mitsuya. The Structure of Theater: A Japanese View of Theatricality. SubStance 31.2/3 (2002): 73-93. Ortolani, Benito. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism. Revised ed. Princeton: Princeton UP, 1990. Powell, Brian. Japan's First Modern Theater. The Tsukiji Shgekijo and Its Company, 192426. Monumenta Nipponica 30.1 (1975): 69-85. Powell, Brian. Japans Modern Theatre: A Century of Change and Continuity. London: Japan Library, 2002. Robertson, Jennifer. Theatrical Resistance, Theatres of Restraint: The Takarazuka Revue and the State Theatre Movement in Japan. Anthropological Quarterly 64.4 (1991): 165177. Rolf, Robert T. Tokyo Theatre 1990. Asian Theatre Journal 9.1 (1992): 85-111. Rolf, Robert T., and John K. Gillespie, ed. Alternative Japanese Drama: Ten Plays. Honolulu: University of Hawaii, 1992. Scholz-Cionca, Stanca, and Samuel L. Leiter. Japanese Theatre and the International Stage. Brills Japanese Studies Library. Ser. 12. Boston: Brill, 2001. Senda, Akihiko. The Voyage of Contemporary Japanese Theatre. Trans. J. Thomas Rimer. Honolulu: University of Hawaii, 1997. Sorgenfrei, Carol Fisher. Desperately Seeking Asia: A Survey of Theatre History Textbooks. Asian Theatre Journal 14.2 (1997): 223-258. Tadashi, Uchino. Images of Armageddon: Japans 1980s Theatre Culture. The Drama Review 44.1 (2000): 85-96. Wetmore, Jr., Kevin J. Modern Japanese Drama in English. Asian Theatre Journal 23.1 (2006): 179-205. Wilson, Edwin, and Alvin Goldfarb, ed. Anthology of Living Theater. 3rd ed. New York: McGraw-Hill, 2006. Worthen, W.B., ed. The Wadsworth Anthology of Drama. 4th ed. Boston: ThomsonWadsworth, 2004.
302 ADVANCED COMPOSITION MANUAL 110 5u. Peer review form 302 English: Peer Review Title of the Proposal: Author of Proposal: Reviewer:
Introduction: Is the subject defined clearly? General summary of the research? General summary of the methodology? Is relevant information presented (names, dates, places)? Is the projects main idea clearly presented? Comments:
Background Coherence/Organization: Clear method of organization? Clear well developed paragraphs? Does the background research funnel/lead to the uniqueness of the project proposal? Balanced? Are any sections/paragraphs too long or too short? Should any text be moved or eliminated? Any digressive/unnecessary sentences? Comments:
Background Support/Content: Are there enough examples and details to support major themes? Are there too many/ not enough quotations or direct textual references? Does the proposal critically engage the subject? Is the subject unique?Are at least four sources used? Comments: Methodology Coherence/Organization: Clear method of organization? Logical flow? Clear well developed paragraphs? Balanced? Are any sections/paragraphs too long or too short? Should any text be moved or eliminated? Any digressive/unnecessary sentences? Comments: Methodology Support/Content: Are there enough details to explain the approach? Are the courses mentioned and explained? The author describes the role of the advisor? Does the project seem feasible? Does the proposal critically engage the subject? Any suggestions to improve? Comments:
Significance/ results Are the results clearly described? Are the professional contributions discussed? Are any personal goals discussed? What is the final result? Comments:
Write a brief paragraph discussing positive and negative aspects of the proposal (an illustration, a creative idea, a good phrase/sentence).
CHAPTER 5: LOCATING, CITING, DOCUMENTING, AND ANNOTATING SOURCES PART 1: LOCATING SOURCES 5a. BOOKS.112 5b. JOURNAL ARTICLES....113 PART 2: DOCUMENTATION AND CITATION 5c. APA STYLE GUIDE .... ..115 5d. APA IN-TEXT CITATION .119 5e. MLA STYLE GUIDE ..120 5f. MLA IN-TEXT CITATION .124 5g. ONLINE DOCUMENTATION GUIDES125 PART 3: ANNOTATED BIBLIOGRAPHY 5h. HOW TO WRITE AN ANNOTATED BIBLIOGRAPHY..............................................126
PART 1: Locating Sources

5a. Books: A. Library Catalogs Tutorials: http://library.gmu.edu/education/students/find_books.html Tips: 1. Once you find a book in the catalogue, you should locate it in the stacks at Fenwick. While retrieving the book, look at the books around the initial object of your search. 2. Use Amazon.com or other internet search engines to locate books. Then, you can copy and paste the authors name or title of the book into the library catalogues search engine to find the book in Fenwick. B. Consortium Loan Service Tutorial: http://library.gmu.edu/education/students/CLS/index.html You can request books from other libraries in the area. C. On line: 1. Net library http://www.netlibrary.com.mutex.gmu.edu/ is a great online source for scholarly books. It requires your gmu username and password. You should create an account to store digitally all of your books. 2. Scholar.google.com is a great resource to locate books on specific topics. 3. www.books.google.com is another great source to locate current and past scholarly works. The advanced search can help focus your search. Older books (pre 1923) may be fully accessible online. 4. Amazon.com - Once you find a book on Amazon, Google books, or Google Scholar, you should copy the authors name and paste it into our library catalogue. You may find that author has other books on the subject.
302 ADVANCED COMPOSITION MANUAL 113 5b. Scholarly Articles: A. The Library Database Tutorial: http://library.gmu.edu/education/students/searching_a_database/index.html B. Find a Full Text Article: http://library.gmu.edu/education/students/findfulltext/findfulltext.htm C. Accessing Articles from Google Scholar: http://library.gmu.edu/education/students/google_scholar/index.html D. Recommended Databases: 1. Academic Search Complete this is a more general database which includes scholarly articles, newspapers, and magazines. 2. Proquest this is a more general database which includes scholarly articles, newspapers, and magazines. 3. Project Muse this is a scholarly journal. 4. JSTOR This is a scholarly journal. 5. CQ Researcher This contains very in-depth articles on current issues facing our society. E. JSTOR Tutorials: http://about.jstor.org/support-training/help/tutorials: This link guides you through multiple tutorials on how to use JSTOR most effectively. The tutorials address advanced searching on JSTOR, Browse and Citation Locator, Data for Research: Key Terms, How To Search JSTOR, JSTOR User Services Staff, and Rare Art Periodicals. F. Searching for journals in a specific field: a. You can use the library e-journal finder. You can find this on the main library page. It is the last link. b. In JSTOR you can do the following: Lets start with an example major: philosophy. I will look for a journal of philosophy for academics or specialists. Where should I go? Lets try the gmu library databases. Please go to the gmu home page, and place the index/pointer over academic. You should see a list of a few links, one of which is libraries. Please click libraries. This will take you to the library home page. Once on the library page, click the link to databases, which is just under the heading University Libraries.
Once on the databases page, find the database JSTOR. You can do this in many ways; one way is to click the letter J in the alphabet posted directly below the search box. Once you get the Js called up, scroll down to the last link which is jstor. Click that link. At this point if you are off campus, you will have to put in your gmu username and password (same as your gmu email). Once on JSTOR, you should see a long list of topics: search, browse, about, participate, etc. put the index over browse, but do not click. You should see three
302 ADVANCED COMPOSITION MANUAL 114 links, one of which is By Discipline. Click that one. A page with all of the journals under the JSTOR database will appear. You have to scroll down or use the locator to find your discipline. In your discipline, try to locate a journal that is of interest to you. Please do not just select the first one. I want you to be able to use this later on in your career, hopefully! In our practice session, we are looking for a philosophy journal. So, I am interested in the philosophy of art. In the philosophy section, I find: The Journal of Aesthetics and Art Criticism. Click on that journal link. Here I can find some of the information about the journal which will help me fill in the chart provided by the prompt. It contains full length articles (usually, but not always); it contains some information about the journal such as frequency of publication, and its purpose. However, it does not have all of the info. So what to do from here? I suggest copying the journal title and putting it into a Google search. After conducting the journal search, we see there are two similar journals so make sure you locate the same one. In this instance, we know it is published by Wiley. We see the first suggested site is the journal we are looking for. We can then look through the link to fill in the missing pieces of the chart. Please note: you will need both the journal web site and the access through our library to be able to answer all of the questions. c. Other Journals: For the other journals in your field, I suggest using google.com or scholar.google.com to search. When looking for a journal for a general public. You can use search keywords such as philosophy today or philosophy journal for everyone. Please notice when we plug in the second keywords into Google, the fourth or fifth link is to Think a philosophy journal for everyone. You can also use very sophisticated magazines, such as Smithsonian, Foreign Policy. Any magazine that has good, detailed articles on contemporary issues will be satisfactory. If you are in doubt, email me to ask. We can also look for an online philosophy journal; use the keywords online philosophy journal in google.com. We see the fifth or sixth link is to Kritike a very popular online journal. Now you may want to use other keywords for your major and you may have to think for more specific or broader terms. If you do have problems locating them, email me as soon as possible. Usually, it is just a matter of finding the right keywords. When filling in the chart, for many categories, you may only need a phrase or a few words; however, certain categories I grad more closely: summary of an article from the journal, purpose of the journal, and evaluation of the journal. These should all be well detailed.
302 ADVANCED COMPOSITION MANUAL 115 Part 2: APA and MLA Documentation and Citation and Annotated Bibliography Guide from the GMU Writing Center Web Site (http://writingcenter.gmu.edu/writing-resources.php) 5c. CITATION: APA STYLE GUIDE: http://writingcenter.gmu.edu/resourcestemplate.php?id=4
The following sources were referenced: American Psychological Association. (2010). Publication manual of the American Psychological Association, 6th Ed. New York: American Psychological Association of America. Purdue University Online Writing Lab (OWL) (2010). APA style. Retrieved March 12, 2010, from http://owl.english.purdue.edu/owl/section/2/10/. APA References Page The basic format for all APA works cited entries, no matter what the source, includes as much of the following as is available: 1. 2. 3. 4. 5. 6. the authors name the year of publication the title of the work (italicized if a book or larger publication) the city of publication the publisher the complete web URL address
References pages are double-spaced. Use the indenting format that your instructor preferseither can be acceptable: Hanging indent: Stoessinger, J.G. (1998). Why nations go to war, 7th ed. New York: St. Martins Press. Paragraph-style indent: Stoessinger, J.G. (1998). Why nations go to war, 7th ed. New York: St. Martins Press.
BASIC FORMAT FOR A BOOK: Author Last name, First initial. (Year of Publication). Title of book. City of Publication: Publisher. One author: Tapscott, D. (1998). Growing up digital. New York: McGraw-Hill. Multiple authors: Hamer, D., & Copeland, P. (1998). Living with our genes. New York: Doubleday. Book with multiple editions: Stark, Rodney. (1998). Sociology (7th ed.). New York: Wadsworth. BASIC FORMAT FOR AN EDITED BOOK: Duncan, G.J., & Brooks-Gunn, J. (Eds.). (1997). Consequences of growing up poor. New York: Russell Sage Foundation.

For books that appear online or for electronic versions of books in print, follow the format below:
ELECTRONIC-ONLY BOOK: Author Last name, First initial. (Year of publication, if available). Title of book. Retrieved from URL. OKeefe, E. (n.d.). Egoism & the crisis in Western values. Retrieved from http://www.onlineoriginals.com/showitem.asp?itemID=35 If the book is only available for purchase, write "Available from" in place of "Retrieved from." ELECTRONIC VERSION OF PRINT BOOK Schiraldi, G.R. (2001). The post-traumatic stress disorder sourcebook: A guide to healing, recovery, and growth [Adobe Digital Editions version]. doi:10.1036/0071393722 NOTE re. DOI: http://www.apastyle.org/learn/faqs/what-is-doi.aspx ENTRY IN AN ONLINE REFERENCE WORK Author Last name, First initial. (Year of publication). Name of the article. In Editor Name (Ed.), Title of encyclopedia/larger work. Retrieved from URL. Graham, G. (2005). Behaviorism. In E. N. Zalta (Ed.), The Stanford encyclopedia of philosophy (Fall 2007 ed.). Retrieved from http://plato.stanford.edu/entries/behaviorism ENTRY IN AN ONLINE REFERENCE WORK, NO AUTHOR OR EDITOR Entry title. (n.d.) In Name of work (ed.). Retrieved from URL. Heuristic. (n.d.). In Merriam-Websters online dictionary (11th ed.). Retrieved from http://www.m-w.com/dictionary/heuristic ARTICLE IN AN EDITED BOOK: Author Last name, First initial. (Year). Title of article. In Editor First Initial. Last Name (Ed.), Title of book (page range). City of publication: Publisher. Fesmire, S. (1997). The social basis of character: An ecological humanist approach. In H. LaFollette (Ed.), Ethics in practice (pp. 282-292). Cambridge, MA: Blackwell. ARTICLE IN A MONTHLY MAGAZINE: Author Last name, First initial. (Year, Month of Publication). Title of article. Title of magazine, Volume number, Page number or range. Kadrey, R. (1998, March). Carbon copy: Meet the first human clone. Wired, 6, 46-50, 56, 62. ARTICLE IN A NEWSPAPER: Haney, D. Q. (1998, February 20). The mystery of appetite. The Oregonian, pp. A1, A17. Precede page numbers for newspaper articles with p. if the article is one pageor pp. if the article is longer than a pagefollowed by the section and page number.

ONLINE MAGAZINE ARTICLE Author Last name, First initial. (Year, month). Article title. Publication name volume number (issue if available). Retrieved from URL. Clay, R. (2008, June). Science vs. ideology: Psychologists fight back about the misuse of research. Monitor on Psychology, 39 (6). Retrieved from http://www.apa.org/monitor/ ONLINE NEWSPAPER ARTICLE Author Last name, First initial. (Date). Title of article. Title of publication. Retrieved from URL. NOTE: give the URL of the homepage when the online version of the article is available by search to avoid nonworking URLs. Brody, J. E. (2007, December 11). Mental reserves keep brain agile. The New York Times. Retrieved from http://www.nytimes.com ARTICLE IN A JOURNAL: Paginated by issue: Roberts, P. (1998). The new food anxiety. Psychology Today, 31(2), 30-38. Paginated by volume: Villarreal, A. (2004). The social ecology of rural violence: land scarcity, the organization of agricultural production, and the presence of the state. The American Journal of Sociology, 110(2), 313-338. ARTICLE IN AN ONLINE JOURNAL: Author last name, first initial. (Date of publication). Title of article. Name of Periodical, Volume, issue number, Page number or range. doi or Retrieved from URL. VandenBos, G., Knapp, S., & Doe, J. (2001). Role of reference elements in the selection of resources by psychology undergraduates. Journal of Bibliographic Research, 5, 117-123. Retrieved from http://www.usc.edu/psych/ref ARTICLE FROM LIBRARY DATABASE: Author last name, first initial. (Year of Publication). Title of article. Title of Journal, Volume (Issue), page range. Retrieved from Title of the database or information service. Publisher or retrieval service. Burman, S., & Allen-Mirs, P. (1994). Neglected victims of murder: Childrens witnessed parental homicide. Social Work, 39 (1), 28-34. Retrieved from Academic Search Premier. EbscoHost. If citing abstracts or reviews of an article from library database, include the word Abstract or Review in the citation before the title information (as shown in the example below): Magnus, A.L. (2003). Inquisitive Pattern Recognition. [Abstract]. British Journal of Learning Disabilities, 6(3), 54-58. Retrieved fromProQuest Dissertations and Theses. ProQuest. WEB PAGE: Author Last name, First initial. (Date of publication and/or last modification). Title of document. Title of site [if applicable]. Retrieved from URL

Cressia, L.L. (1997). Copyright and fair use: Future of fair use. Copyright issues. Retrieved from http://www.cas.usf.edu/english/walker/courses/fall97/concl.html Note: if no author, start with name of the webpage: New child vaccine gets funding boost. (2001). Retrieved from http://news.ninemsn.com.au/health/story_13178.asp CD-ROM: Author Last name, First initial [if available] or name of vendor. (Year of publication). Title of article. Title of publication. Publication medium [CD-ROM]. City of publication: Publisher. Pearson Education. (2002). What is plagiarism? Avoiding plagiarism. CD-ROM. New York: Longman. PERSONAL EMAIL: Personal communications are not listed in the Reference List, because they do not provide recoverable data. They are cited in-text only in the following format: (First initial Last name, personal communication, date) (V.G. Nguyen, personal communication, September 29, 1998). If you mention the author in the sentence, you do not need to include the author in the citation: T.K. Lutes claims that rumor of the presidents retirement is only hearsay (personal communication, April 18, 2001). GRAPHICS, AUDIO, AND VIDEO FILES: Motion picture: Producer, A.A. (Producer), & Director, B.B. (Director). (Year). Title of motion picture [Motion picture]. Country of origin: Studio or distributor. Video: American Psychological Association. (Producer). (2000). Responding therapeutically to patient expressions of sexual attraction [DVD]. (Available from http://www.apa.org/videos/) Music recording: lang, k.d. (2008). Shadow and the frame. [Recorded by artist if different from song writer]. On Watershed [CD]. New York, NY: Nonesuch Records. (Recording date if different from copyright date). PODCASTS: Van Nuys, D. (Producer). (2007, December 19). What happy women know [Episode 6]. Shrink rap radio [Audio podcast]. Podcast retrieved from http://www.shrinkrapradio.com BLOGS, NEWSGROUPS, MAILING LISTS, AND WIKIS (i.e. WIKIPEDIA ENTRIES): Author Last name, First initial. (Year, Month Day of posting). Subject line of posting. Title of the Newsgroup. Message posted to URL Bartow, A. (2006, March 26). Parody is fair use! Sivacracy.net. Video posted to http://www.nyu.edu/classes/siva

5d. APA IN-TEXT CITATIONS APA in-text citations require three pieces of information: the authors last name, the year of publication, and the page number. There are two ways to format this information: with a signal phrase and without a signal phrase. APA recommends using a signal phrase. A signal phrase introduces a quotation in order to help the reader understand why it is important and how it fits into the rest of the paper. In the first example below, Villarreal maintains that is the signal phrase. IF THE AUTHOR IS NAMED IN SIGNAL PHRASE: If the author is named while introducing the quotation, then the year will follow the authors name in parentheses, and only a page number is necessary in the citation at the end of the sentence. Remember that in APA, every time an authors name is mentioned, the year of publication is mentioned as well. Put p. before the page number. Quotation: Villarreal (2004) maintains that Sociological research on the structural origins of criminal violence has focused almost exclusively on urban settings (p. 313). Paraphrase: According to Stark (1998), sociologists use samples when studying larger populations; they cannot only use techniques from field research (p. 91). Note that the above source is paraphrased and not quoted. When paraphrasing specific information from a source, that source still must be cited within the paper and in the works cited list. IF THE AUTHOR IS NOT NAMED IN SIGNAL PHRASE: If the signal phrase does not mention the author, or if the sentence does not have a signal phrase, all three components will come at the end of the sentence in parentheses. Put commas between the parts, and put p. before the page number. Quote: It may be true that humans will retain that culture which they believe is rewarding (Stark, 1998, p. 240). Paraphrase: One hypothesis is that disputed property rights cause conflict and violence in agrarian communities (Villarreal, 2004, p. 318). IF USING AN INTERNET OR ELECTRONIC SOURCE WITH NO AUTHOR OR PAGE NUMBER: Author Unknown: Cite in text the first few words of the reference list entry (usually the title) and the year. Use double quotation marks around the title or abbreviated title.: ("New Child Vaccine," 2001). Page Number Unknown: When the pages of a web source are fixed (as in PDF files) supply a page number. Although print-outs from websites sometimes show page numbers, APA recommends treating them as unpaginated and allows the omission of the page number. When the material does not include page numbers, you can include any of the following in the text to cite the quotation (from pp. 170171 of the Publication Manual):

A paragraph number, if provided; alternatively, you could count paragraphs down from the beginning of the document. An overarching heading plus a paragraph number within that section. An short title in quotation marks, in cases in which the heading is too unwieldy to cite in full.

Using this reference as an example: Heuristic. (n.d.). In Merriam-Websters online dictionary (11th ed.). Retrieved from http://www.mw.com/dictionary/heuristic Your text citation would include the title (or short title) "n.d." for no date, and paragraph number, for example: ("Heuristic," n.d., para. 1).
5e. CITATION: MLA STYLE GUIDE: (http://writingcenter.gmu.edu/resourcestemplate.php?id=5)

MLA Citation Style QuickGuide The following source was referenced: Modern Language Association of America. MLA Handbook for Writers of Research Papers. 7th ed. New York: MLA, 2009. MLA Works Cited Page The basic format for all MLA works cited entries, no matter what the source, includes as much of the following as is available: 1. 2. 3. 4. 5. 6. 7. the authors name the title of the work (italics if a book, in quotation marks if an article) the city of publication the publisher or n.p. (for no publisher given) the year of publication or n.d (for no date given) unless citing an entire book, the page number, range, or n. pag. (for not pagination) the publication medium
For electronic or internet sources, you should also include: 1. the date the source was accessed online Indent all lines after the first one and include a period (.) at the end of all citations. Also, works cited pages must be double-spaced. The examples in this handout are not. Variations of the basic format for all works cited entries are shown in the examples below. BASIC FORMAT FOR A BOOK: Author Last name, First. Title of Book. City of Publication: Publisher, Year of Publication. Publication Medium. One author: Toffler, Alvin. The Third Wave. New York: Bantam, 1981. Print. Multiple authors: Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth Century Literary Imagination. New Haven: Yale UP, 1979. Print. In the above example, note that the second editors name is written First name and then Last name. This is true anytime there are two authors or editors to a book. If there are more than three authors or editors

of a book, list only the first authors name and use et al instead of writing the other names (as in the example below). EDITED BOOK: Lauter, Paul, et al., eds. The Heath Anthology of American Literature. 4th ed. 2 vols. Boston: Houghton, 2002. Print. For books that appear online or for electronic versions of books in print, follow the format below. ONLINE BOOK: Author: last name, first. Title of Work. Name of editor [if relevant]. Publication information for the original print version. Publication information for electronic version [Title of Internet site. Date of publication if available]. Publication Medium. Date of access. Austen, Jane. Pride and Prejudice. Ed. Henry Churchyard.. Jane Austen Information Page. 1996. Web. 6 Sept. 2002. ONLINE ENCYCLOPEDIAS, DICTIONARIES, AND THESAURI: Brogaard, Berit, and Joe Salerno. Fitchs Paradox of Knowability. The Stanford Encyclopedia of Philosophy. Ed. Edward N. Zalta. n.p. Summer 2004. Web. 23 Mar. 2006 ARTICLE IN A MONTHLY MAGAZINE: Author Last name, First. Title of article. Title of Magazine Day Month Year of Publication: Page number. Publication Medium.
Mehta, Pratap Bhanu. Exploding Myths. New Republic 6 June 1998: 17-19. Print. ARTICLE IN A SCHOLARLY JOURNAL (OR MAGAZINE): Author Last name, First. Title of article. Title of Journal or Periodical Volume, issue number, or other ID number (Date of publication): Page number. Publication Medium. Hanks, Patrick. Do Word Meanings Exist? Computers and the Humanities 34 (2000): 205-15. Print. ARTICLE IN AN ONLINE SCHOLARLY JOURNAL (OR MAGAZINE): Author Last name, First. Title of article. Title of Journal or Periodical Volume, issue number, or other ID number (Date of publication): Page number. Publication Medium. Access Day Month Year. Butler, Darrell L. Barriers to Adopting Technology for Teaching and Learning. Educause Quarterly 25.2 (2002): 22-28. Educause. Web. 3 Aug. 2002.

ARTICLE IN A NEWSPAPER: Jeromack, Paul. This Once, a David of the Art World Does Goliath a Favor. New York Times 13 July 2002, late ed.: B7+. Print. If the source does not provide consecutive page numbers, list the first page on which the article appears and use a + if the article is more than one page. ARTICLE IN AN ONLINE NEWSPAPER OR NEWS SERVICE: Author Last name, First. Title of article. Title of site or online newspaper. Publisher. Date of publication: Page number. Publication Medium. Access Day Month Year. Simon, Cecilia Capuzzi. A Coach for Team You. Washingtonpost.com. Washington Post. 10 June 2003. n. pag. Web. 8 Mar. 2006. Notice that the titles of articles in magazines, journals, or newspapers are put inside quotation marks and not underlined or italicized. The title of the magazine, journal or newspaper itself is italicized. ARTICLE FROM A LIBRARY ONLINE DATABASE, FULL-TEXT: Author Last name, First. Title of article. Title of journal or periodical. Date of publication: Page number. Title of database. Title of information service. Name of library or library system. Publication Medium. Access Day Month Year. McMichael, Anthony J. Population, Environment, Disease, and Survival: Past Patterns, Uncertain Futures. Lancet 30 Mar. 2002: 1145-48. Academic Universe: Medical. Lexis-Nexis. California Digital Lib. Web. 22 May 2002. If citing abstracts or reviews of an article from library database, include the word Abstract or Review in the citation before the title information (as in the example below). Magnus, Amy Lynn. Abstract. Inquisitive Pattern Recognition. Diss. Air Force Institute of Technology, 2003: n. pag. ProQuest Dissertations and Theses. ProQuest. Web. 5 July 2006. WEB PAGE: Author Last name, First. Title of Page. Date of publication and/or last update: Page number. Title of Site. Publication Medium. Access Day Month Year. Downes, Stephen. The New Literacy. 4 Oct. 2002: n. page. Stephens Web. Web. 8 Mar. 2006. WEB SITE: Title of Site. Name of Editor [if given]. Date of electronic publication or of latest update: Page number. Name of sponsoring institution or organization. Publication Medium. Access Day Month Year. The Cinderella Project. Ed. Michael Salada. Dec. 1997. Grummond Childrens Lit. Research Collection, U of Southern Mississippi. Web. 15 May 2002.

GOVERNMENT, CORPORATE, OR ORGANIZATION WEB SITE: Name of Government. Government agency/ies. Title of the site [or description: Home page]. Date of publication [if available]. Publication Medium. Access Day Month Year. United States. Library of Congress. American Memory. Web. 3 Mar. 2006. CD-ROM: Author Last name, First. Printed Source Title Information. Database Title. Name of Vendor [if relevant]. Electronic publication date. Page number. Publication medium. Krach, Peg. Myth and Facts about Alcohol Abuse in the Elderly. Nursing Feb. 1998: 25+. Abstract. Periodical Abstracts Ondisc. UMI-ProQuest. Feb. 1998. CD-ROM. PERSONAL EMAIL: Author Last name, First. Subject line of e-mail. Description of the message that includes the recipient. Publication Medium. Date of Access. Brown, Barry. Virtual Reality. Personal e-mail to Mitch Bernstein. Web. 25 Jan. 2006. GRAPHICS, AUDIO, AND VIDEO FILES: CBS News. MLK Jr.s Legacy. CBS Evening News. 16 Jan. 2006. 24 Web. Mar. 2006. Leyster, Judith. The Concert. The Permanent Collection: The Sixteenth and Seventeenth Centuries. National Museum of Women in the Arts. Web. 3 Aug. 2006. PODCASTS: ESPN Radio Daily. Favre Mulls Retirement. 30 Jan. 2006. ESPN Radio Podcast. Web. 31 Jan. 2006 BLOGS, NEWSGROUPS, MAILING LISTS, AND WIKIS (i.e. WIKIPEDIA ENTRIES): Author Last name, First. Subject line of message. Type of document [Online posting, Wikipedia entry, etc.]. Date of posting. Title of the Newsgroup. Publication Medium. Access Day Month Year. Bartow, Ann. Parody Is Fair Use! 26 Mar. 2006. Blog posting. Sivacracy.net. Web. 30 Mar. 2006.

5f. MLA INTEXT CITATIONS A signal phrase introduces a quotation in order to help the reader understand why it is important and how it fits into the rest of the paper. In the first example below, Robertson maintains that is the signal phrase. IF THE AUTHOR IS NAMED IN SIGNAL PHRASE: If the author is named while introducing the quotation, or if the author can be easily assumed from surrounding material (as is often the case in literature papers), then only a page number is necessary in your citation: Quotation: Robertson maintains that in the appreciation of medieval art the attitude of the observer is of primary importance (136). Paraphrase: According to Alvin Toffler, there have been two periods of revolutionary change in history: the agricultural revolution and the industrial revolution (10). Note that the above source is paraphrased and not quoted. When paraphrasing specific information from a source, that source still must be cited in the paper and in the works cited list. IF THE AUTHOR IS NOT NAMED IN SIGNAL PHRASE: Quote: It may be true that in the appreciation of medieval art the attitude of the observer is of primary importance (Robertson 136). Paraphrase: There have been two periods of revolutionary change in history: the agricultural revolution and the industrial revolution (Toffler 10). IF USING TWO OR MORE WORKS BY THE SAME AUTHOR: In Double Vision, Northrop Frye claims that ones death is not a unique experience, for every moment we have lived through, we have also died out of into another order (85). The above example includes the article title in the signal phrase, and therefore only a page number is necessary in the citation. In the example below, the title of the article is not used, and so a recognizable abbreviation of the title belongs within the citation. The abbreviated title is not punctuated. For Northrop Frye, ones death is not a unique experience, for every moment we have lived through, we have also died out of into another order (Double Vision 85).

IF USING AN INTERNET OR ELECTRONIC SOURCE WITH NO AUTHOR OR PAGE NUMBER: Author Unknown: Use the complete title in the signal phrase or an abbreviated title in the citation: (Lawmakers 2). Page Number Unknown: When the pages of a web source are fixed (as in PDF files) supply a page number. Although print-outs from websites sometimes show page numbers, MLA recommends treating them as unpaginated and allows the omission of the page number. If a web source numbers its paragraphs, give the abbreviation par. or pars. in the parentheses: (Smith par. 4).
5g. online documentation guides There are a number of online citation guides. I do advise that you check over the results carefully. If the input data is not correct, the result will be an incorrect citation. You may also consider checking your word processing program. For Example, Microsoft Word 2007 and beyond have a very good citation program built in. Here are some more guides for you: 1. Citation Machine: http://citationmachine.net/ 2. EasyBib: http://www.easybib.com/ 3. Knight Cite: http://www.calvin.edu/library/knightcite/
302 ADVANCED COMPOSITION MANUAL 126 PART 3: ANNOTATED BIBLIOGRAPHY 5h. HOW TO WRITE AN ANNOTATED BIBLIOGRAPHY
http://writingcenter.gmu.edu/resources-template.php?id=9
What is an annotated bibliography? An annotated bibliography is a list of annotation of sources in alphabetical order. An annotation is a one or two paragraph summary and/or analysis of an article, book, or other source. Generally, the first paragraph provides a summary of the source in direct, clear terms. The second paragraph provides an analysis or evaluation of the source, taking into consideration the validity, audience, holes in the argument, etc. Note: Always check with your professor to see exactly what he/she wants included in your annotations. Also, check with your professor on the length of each annotation. Always get specific guidelines. They can often be organized by subject but the entries in every group should be in alphabetical order Why write or use annotated bibliographies? When researching, browsing through annotated bibliographies can help guide your research. They are a great way to see if a source is useful and allow a researcher to work more efficiently. Writing annotated bibliographies gives a researcher a way to organize their sources as well as aiding other researchers interested in the same topic. Annotations also help you look at your sources more carefully and critically. What types of annotations are there? There are three main types of annotations, and the different kinds of information can be combined, such as the summary and evaluation or evaluation and reflection, etc. Note: Always get specific guidelines from your professor as to what type of information you should include.

The summaryThis type of annotation gives a summary of the source. Begin with the thesis and develop it with the argument and/or proof. The evaluationThis type of annotation examines the sources strengths and weaknesses. You can also state why/how the article is useful or interesting and who it would be useful for (someone new to the topic, someone knowledgeable about the topic, graduate students or professional, undergraduates, etc). The reflectionThis type pf annotation states how it informed (or did not inform) your research. It may also state how it helped shape your argument and/or how it changed your view on the topic.
How should one write an annotation?

Entries should be brief. Always use the present tense, Sterne argues... or Sterne states... Use clear, direct language; avoid passive voice. Omit information that can be gathered from the title. Omit references to background material and previous works by the author. Mention only directly significant details.

Sample Annotations The first is an example of an annotation done in two paragraphs and written in complete sentences. This type of annotation is the most thorough. The first paragraph summarizes the sources argument, and the second paragraph evaluates the source. The second annotation is more informal and written in phrases. It gives a basic summary and evaluation. The third is similar to the second in that it provides summary and evaluation, but it is written in full sentences. These are only three examples of the many different forms an annotation can take. Always check with your professor for guidelines on length, style, and content. Note the use of the third person and the use of the source authors name only once in the beginning. Bedrosian, Margaret. Grounding the Self: The Image of the Buddha in Gary Snyders Myths & Texts. South Asian Review 17.14 (1993): 57-69. Bedrosian states that Gary Snyder has internalized both Buddhist and American Indian myth and lore as a way through which he can apply their truths to contemporary American culture and society, as he does in his collection Myths & Texts. Snyder restates the Buddhist four noble truths for modern mans needs. This didactic element gives bare directions in poems such as For The Children. At other times his poetry reads like a Zen koan designed to puzzle and shock one into enlightenment. Snyder blends myth into his texts as a way to help modern American culture by infusing it with new cultural options. This article is a very thoughtful examination of Snyders collection Myths & Texts, yet it is hard to judge the objectivity of the author since she taught at the same university in 1993 that Snyder does now. However, this article contextualizes Snyders work in both the Buddhist and American Indian traditions that he draws from and reinvents. Elkin, P.K. The Augustan Defense of Satire. Oxford: Clarendon, 1973. Excellent look at Augustan satire from many different angles. Places Augustan satire firmly in context through a thorough discussion. Focuses on the attacks upon and defenses of Augustan satire. Moves quickly and sensibly through the argument; rules the defense as inadequate based upon modern notions of satire. Provides an extensive, useful bibliography. Immensely helpful to any scholar of the Eighteenth century and/or satire. Ronald, Kate and Hephizbah Roskelly. Untested Feasibility: Imagining the Pragmatic Possibility of Paulo Freire. College English 63.5 (May 2001): 612-32. Ronald and Roskelly expand upon the possibilities that lay within Freires pedagogy. They make a comparison between Freire and the North American pragmatists. Discourse and action are inter-related, and process is communal, not solely individual. They expand on the idea that experience is a source of knowledge and action is a way of knowing. Freires four pragmatic principles of literacy and education are clearly laid out. This article fits in as a way to understand the practical applications of Freires pedagogy. While this article spends a lot of time on North American pragmatists, it does break down Freires pedagogy very well. http://writingcenter.gmu.edu/resources-template.php?id=9 The University Writing Center 2009 | 4400 University Drive MS2G8 | Fairfax, VA 22030 | Tel: 703-993-1200 | wcenter@gmu.edu

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302 ADVANCED COMPOSITION MANUAL By Mark Rudnicki 2011

302 ADVANCED COMPOSITION MANUAL 2

CHAPTER 1: WRITING AN ENCYCLOPEDIA ARTICLE

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CHAPTER 2: WRITING A REVIEW (OF AN IMAGINARY TEXT) .32

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CHAPTER 5: LOCATING, DOCUMENTING, CITING AND ANNOTATING SOURCES ..110

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PART 1: INTRODUCTION TO ENCYCLOPEDIAS

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PART 2: WRITING ENCYCLOPEDIA ARTICLES

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PART 3: SAMPLE ESSAYS

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302 ADVANCED COMPOSITION MANUAL 55 Reviewer #2: ______________________

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CHAPTER 3: WRITING AN ANALYSIS

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302 ADVANCED COMPOSITION MANUAL 78 Reviewer #2: ______________________

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Part 1: Writing a Research proposal

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Date Inside address

302 ADVANCED COMPOSITION MANUAL 94 5r. Sample Proposal #2: Nursing

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PART 1: Locating Sources

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5e. CITATION: MLA STYLE GUIDE: (http://writingcenter.gmu.edu/resourcestemplate.php?id=5)

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How should one write an annotation?

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