The_Alchemist


 Length
 Your
paper
must
be
five
(complete)
typed
pages
or
1,800
words
long,
excluding
the
Works
Cited
 page.
 
 Subject
and
Scope
 You
will
analyze
the
short
story
you
selected
for
your
previous
assignment:
Edgar
Allan
Poe's
 "The
Cask
of
Amontillado,"
Kate
Chopin's
"The
Story
of
an
Hour,"
Stephen
Crane's
"The
Open
 Boat,"
Ernest
Hemingway's
"Hills
Like
White
Elephants,"
Raymond
Carver's
"Cathedral,"
or
Joyce
 Carol
Oates'
"Where
Are
You
Going,
Where
Have
You
Been'".

This
essay
will
require
an
 analytical
focus,
such
as
tracing
one
or
more
elements
of
fiction
(point
of
view,
setting,
irony,
 foreshadowing,
and
symbolism,
for
example)
or
themes.

Feel
free
to
use
or
modify
any
of
the
 sample
topics
at
the
end
of
this
handout,
or
you
may
formulate
your
own
topic.

Your
paper
must
 also
incorporate
information
from
a
minimum
of
four
secondary
sources.

In
researching
your
 topic,
you
will
examine
what
other
writers
have
to
say
about
the
story
and
author
and
use
 examples
from
their
works
to
back
up
your
assertions.

You
might
also
consider
the
historical,
 social,
or
psychological
context
of
the
story.

The
emphasis
of
this
paper,
however,
should
be
on
 establishing
and
proving
analytical
claims.

You
will
not
merely
compile
the
background
and
 comments
of
other
writers
in
one
section
of
your
paper;
rather,
you
will
integrate
information
 from
secondary
sources
as
it
applies
to
related
points
you
make
in
your
paper.

Material
from
 secondary
sources
should
account
for
no
more
than
one‐fourth
of
your
essay.


 
 Paragraphing
 As
you
did
with
your
first
two
essays,
name
the
author
and
title
of
your
primary
source
(the
 latter
should
be
in
quotation
marks)
in
the
opening
paragraph,
but
do
so
in
a
sentence
that
 makes
an
assertion;
do
not
simply
announce,
for
example,
that
Kate
Chopin
wrote
"The
Story
of
 an
Hour."

Also,
briefly
discuss
what
the
story
is
about,
and
end
the
paragraph
with
a
thesis
 statement
that
indicates
the
focus
of
your
analysis:
what
thematic
aspects
or
literary
elements
 are
you
writing
about'

Be
careful,
however,
to
avoid
announcing
your
intentions.

For
instance,
 you
should
not
use
the
following
type
of
phrasing:
"In
this
essay
I
will
show
.
.
.
."

The
thesis
 statement
explains
the
main
purpose
of
an
essay.

It
expresses
the
analytical
point
an
essay
 proves
and,
as
such,
cannot
be
a
statement
of
fact.
 
 Write
three
to
five
body
paragraphs,
each
including
a
topic
sentence
that
supports
or
backs
up
 the
thesis
statement.

Just
as
a
thesis
charts
the
direction
of
an
entire
essay,
a
topic
sentence
 establishes
the
main
idea
of
a
paragraph
or
a
series
of
related
paragraphs.

A
topic
sentence
 usually
appears
at
or
near
the
beginning
of
a
paragraph,
but
it
may
appear
elsewhere.
 
 While
a
topic
sentence
tells
the
reader
the
main
idea
of
a
paragraph,
a
well‐developed
paragraph
 shows
the
reader
the
point
the
writer
wants
to
make.

One
way
to
develop
a
topic
sentence
is
to
 include
several
brief
examples
that
support
the
assertion,
and
another
possibility
is
to
include
 one
extended
example.

Either
way,
effectively
developed
paragraphs
prove
their
points
with
 relevant
details
from
the
story.
 
 Paragraph
development
consists
of
three
steps:
establishing
analytical
claims,
clarifying
 assertions
or
ideas,
and
illustrating
points.

Use
examples
from
the
story—plot
elements,
 narrative
details,
dialogue,
and
symbols—to
illustrate
your
points.

It
is
not
sufficient
to
state
an
 English
1302—Short
Story
Research
Paper
 idea;
you
must
prove
it.
 You
should
arrange
your
body
paragraphs
in
a
logical
sequence
and
make
clear
transitions
from
 point
to
point
and
paragraph
to
paragraph.

Find
ways
to
incorporate
transitional
words
and
 phrases,
but
do
not
force
such
phrasing.

The
Little,
Brown
Handbook
discusses
this
subject
and
 includes
a
list
of
transitional
expressions;
refer
to
pages
85‐88
and
108‐110
for
explanations
and
 examples.
 
 Your
essay
needs
a
clear
closing
paragraph,
one
that
brings
a
sense
of
completion
to
your
paper
 without
being
overtly
repetitious.

If
you
have
not
done
so
elsewhere
in
the
essay,
consider
 addressing
the
thematic
implications
of
your
analysis.

Think
of
the
closing
as
the
"so
what'"
 section
of
your
paper.

Why
does
the
story
continue
to
resonate
with
readers'

Instead
of
merely
 rehashing
your
thesis
or
topic
sentences,
view
the
closing
paragraph
as
an
opportunity
to
 amplify
their
significance.
 
 Other
Considerations
 Use
present
tense
in
making
analytical
claims
or
discussing
events
that
happen
after
the
story
 begins.

Use
an
appropriate
point
of
view,
preferably
third
person
plural,
and
be
consistent
with
 it.

Be
sure
to
give
your
essay
a
title
that
provides
some
indication
of
focus
or
analytical
purpose.

 Do
not
simply
use
the
story
title,
although
you
may
incorporate
it
into
an
original
title.
 
 Sources
and
Format
 You
must
use
a
minimum
of
four
secondary
sources,
in
addition
to
the
story
you
analyze,
and
 your
paper
must
include
no
fewer
than
sixteen
(parenthetically
referenced)
excerpts
from
those
 sources,
eight
from
the
story
and
eight
from
research.

The
required
secondary
sources
cannot
 include
editorial
sections
of
your
textbook
(biographical
notes,
for
example).

You
must
turn
in
 photocopies
of
all
articles
(the
entire
articles)
and
passages
from
books
that
you
ultimately
cite
 in
your
paper,
including
those
you
find
in
library
databases.

You
should
not
photocopy
your
 selected
story,
since
I
have
a
copy.
 
 Select
textual
examples
that
help
you
make
a
point;
don't
force
details
or
incorporate
them
for
 the
sake
of
doing
so.

For
every
detail
you
mention,
explore
its
relevance
to
your
analysis;
explain
 why
you
have
included
it
in
your
paper.

For
every
paraphrased
or
quoted
passage
you
use,
 include
a
parenthetical
reference.

You
will
use
the
most
recent
MLA
format
for
citing
primary
 and
secondary
sources.

Refer
to
the
sample
Works
Cited
entries
I
provided
with
the
handout
for
 your
previous
assignment,
and
ask
me
for
help
in
formatting
your
specific
sources.

Your
essay
 must
include
parenthetical
references
and
matching
Works
Cited
entries
for
all
primary
and
 secondary
sources.

As
was
the
case
with
your
previous
assignment,
in
referencing
the
story,
you
 must
cite
the
textbook,
listing
the
author's
name,
the
title
of
the
story,
and
relevant
publication
 information,
including
the
page
numbers.
 
 Your
secondary
sources
must
come
from
one
or
more
of
the
following
types
of
materials:
 scholarly
books
about
your
author
and
the
selected
story;
reference
books,
such
as
Short
Stories
 for
Students
and
Twentieth
Century
Literary
Criticism;
literary
journals,
such
as
Studies
in
Short
 Fiction
and
Explicator;
and
online
databases
accessible
through
the
Lee
College
library,
such
as
 Academic
Search
Complete,
Literature
Resource
Center,
and
MagillOnLiterature
Plus.

You
may
not
 use
information
from
public
or
private
websites
(Wikipedia,
for
example)
or
search
engines
 (such
as
Google).

Information
posted
on
the
web
varies
in
quality
and
reliability,
even
more
than
 2
 traditional
print
sources,
which
typically
undergo
a
more
stringent
screening
process.
 
 
 Grading
Criteria
 Your
assignment
will
be
graded
on
the
unity
and
depth
of
your
analysis,
as
well
as
the
 effectiveness
of
setting
up
and
integrating
material
from
primary
and
secondary
sources.

I
will
 also
evaluate
your
parenthetical
references
and
Works
Cited
page
for
correctness
of
information
 and
form.
 
 Due
Date:
Monday,
November
24th
 You
must
turn
in
the
final
draft
due,
along
with
the
graded
setups
assignment
and
photocopies
of
 secondary
sources
(I
will
not
grade
the
paper
without
these
materials).

Your
work
must
be
 turned
in
by
5:00
p.m.,
either
in
person
or
via
email.

I
will
not
accept
late
work.

If
you
submit
 your
work
electronically,
send
it
as
an
attachment
(Microsoft
Word
or
RTF
file)
to
the
following
 address:
jhamby@lee.edu.

Regardless
of
how
you
submit
your
work,
it
is
your
responsibility
to
 verify
that
I
have
received
it;
I
will
send
you
an
email
when
I
have
opened
your
attachment.
 Sample
Essay
Topics
 
 "The
Cask
of
Amontillado"
 1. Poe’s
Technique
of
Creating
Suspense
and
Terror—how
does
he
establish
and
sustain
a
 desired
effect
or
tone,
and
what
is
the
role
of
foreshadowing'

 2. Irony,
Humor,
and
Gothic
Elements—how
do
they
contribute
to
the
story's
effects
and
the
 readers'
response
to
events'
 3. Point
of
View—reliability
of
the
unnamed
first
person
narrator.

What
motivates
his
actions,
 and
on
what
occasion
is
he
relating
the
story'
 4. Setting
and
Symbolism—how
do
when
and
where
the
story
take
place
shape
the
effect
of
the
 story'
 
 "The
Story
of
an
Hour"
 1. Louise
Mallard's
Transformation—how
does
she
change
and
why'

Look
for
clues
in
her
 reaction
to
the
news
of
her
husband's
supposed
death,
and
consider
any
details
the
narrator
 provides
about
the
couple's
relationship.

You
might
also
consider
her
elusive
search
for
 freedom
and
self‐identity.
 2. Traditional
Stages
of
Grief—how
does
Louise
react
to
news
of
her
husband's
supposed
death'

 Why
does
she
react
as
she
does'
 3. Limitations
of
Love
in
Male
/
Female
Relationships—what
commentary
does
Chopin
make
on
 society,
love,
and
romance'
 4. Narrative
Approach—examine
the
story's
third
person
limited
point
of
view
and
its
impact
 on
characterization
as
well
as
the
readers'
identification
with
Louise.
 
 "The
Open
Boat"
 1. Darwin's
Notion
of
"Survival
of
the
Fittest"—is
it
ironic
or
appropriate'

Which
character
is
 the
fittest'

How
is
the
oiler's
death
both
surprising
and
understandable'

Early
in
the
story,
 who
seems
most
likely
to
die
and
why'
 2. Man's
Relationship
with
Nature—what
do
the
men
learn
from
their
experiences
on
the
open
 sea'

How
does
the
narrator
depict
specific
elements
in
nature
(the
shark,
for
example)'

The
 men
on
the
boat
look
for
justice
and
fairness,
try
to
impose
society's
rules
on
nature;
contrast
 3
 this
idea
with
nature's
indifference
to
humanity.
 3. Brotherhood
or
Camaraderie
of
the
Men—it
is
symbolized
by
the
dinghy
and
evident
in
 common
goals
as
the
men
work
together
to
survive.

How
is
this
"the
best
experience"
of
the
 correspondent's
life'

When
does
the
brotherhood
fall
apart
and
why'

 4. Shifts
in
Point
of
View—from
third
person
detached
to
collective
(the
views
of
the
men)
to
 limited
(to
the
correspondent's
thoughts).

When
does
the
perspective
change
and
why'
 
 "Hills
Like
White
Elephants"

 1. Iceberg
Theory
of
Composition—how
does
Hemingway
imply
meanings
through
omission'

 What
do
narrative
details
suggest
in
terms
of
characterization,
symbolism,
and
theme'

 2. Extensive
Use
of
Dramatic
Dialogue—what
do
the
central
characters
imply
through
their
 exchanges
with
each
other'

What
do
they
not
say'

How
do
the
readers
interpret
the
tone
of
 their
conversation'
 3. Significance
of
Setting—how
is
it
symbolic,
and
how
does
it
motivate
characters
to
act
in
 particular
ways'

Consider
not
just
the
immediate
setting
of
the
story
but
also
the
settings
 characters
have
traveled
up
to
this
point.
 4. Control
and
Balance
of
Power—who
controls
whom,
and
what
evidence
leads
the
readers
to
 their
conclusions'

Does
the
balance
of
power
shift'

When
and
why'
 
 "Cathedral"

 1. Character
Study
of
the
Unnamed
Narrator—how
does
he
change
through
the
course
of
the
 story,
and
what
brings
about
that
change'

Consider
significant
background
information,
 much
of
it
implied,
about
his
relationship
with
his
wife
and
about
his
wife's
relationship
with
 Robert.

Also,
examine
the
narrator's
drug
use,
insecurities,
ignorance,
and
prejudices.
 2. Point
of
View—should
the
readers
question
the
reliability
of
the
unnamed
first
person
 narrator
and
why'
 3. Epiphany
and
the
Literal
Cathedral—what
is
the
relationship
between
the
narrator's
 revelation
and
the
structure
he
draws
with
Robert'

Consider
typical
associations
people
 make
with
cathedrals
and
the
way
the
narrator
describes
the
drawing
sequence
(as
well
as
 how
the
experience
affects
him).

 4. Style
and
Effect—how
does
Carver's
writing
style
(narrative
commentary,
dramatic
dialogue,
 minimalism,
pacing)
affect
readers'
response
to
the
story'

What
is
the
relationship
between
 the
writer's
style
and
the
story's
tone'
 
 "Where
Are
You
Going,
Where
Have
You
Been'"
 1. Evolution
of
Connie—what
kind
of
character
is
she
at
the
beginning
of
the
story,
how
does
 she
change,
and
why'

What
is
her
ultimate
fate'

The
mystery
surrounding
Friend's
identity
 leads
many
readers
to
assume
sinister
motives
and
a
violent
end
for
Connie,
but
what
are
 other
possibilities'

Consider
her
rebelliousness
and
sexual
curiosity.
 2. Reality
or
Dream—do
the
events
actually
occur,
or
is
Connie
merely
dreaming'

If
the
latter
is
 the
case,
what
do
the
events
mean
(in
psychological
terms)'
 3. Making
Sense
of
the
Music—trace
the
references
to
music
(transistor
radios,
Bob
Dylan,

and,
 according
to
at
least
one
critic,
Elvis
Presley),
and
examine
their
meaning
(in
terms
of
 characterization
and
theme).
 4. Identity
and
Motive
of
Arnold
Friend—who
is
this
mysterious
stranger,
and
what
does
he
 want
from
Connie'

What
narrative
details
lead
the
readers
to
infer
the
antagonist's
identity'
 4