First pdf is instructions and tips. Second pdf is the THING you have to analyze. Complete the THING Analysis of a Published THING: “Emotions in The Story of an Hour” as

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First pdf is instructions and tips.

Second pdf is the THING you have to analyze.

  • Complete the THING Analysis of a Published THING: “Emotions in The Story of an Hour” assignment. Formulate and submit a two to three paragraph analysis. This activity will help you get an informal introduction to what a literary THING looks like as well as to better your understanding of the text being written about. In your analysis:
    • Identify the thesis and the supporting reasons for the reader’s thesis claim.
    • Comment on how well the author proved the thesis and provide a general assessment of the THING: Is it well-written and organized?
    • Analyze the argument: What are its strengths and weaknesses?

    SIDE NOTE: This is just an overview, I will pay you to do the outline next week, the rough draft the week after, and the final draft after that week. 

LIT1100 Introduction to Literature University of Northwestern – St. Paul

The Literary Analysis Essay

In-text documentation refers to Roberts, E. V. (1999). Writing about literature (9th ed.). Upper Saddle River, NJ: Prentice Hall.

What is a literary analysis essay?
It is a carefully organized set of paragraphs that develop and enlarge a central idea about a literary text
(22). Your essay needs to be at least 1000 words (approximately 4 typed pages) but should not be longer
than 1500 words (approximately 6 pages).

What is the purpose of this type of essay?
The purpose is to convince your readers that your central idea is valid by demonstrating how selected
details from the text relate to and support your central idea (22).

Upon what should my central idea focus?
The central idea should focus on a particular literary element in the text, e.g., character, setting, plot,
point of view, theme, irony, symbolism, or allegory. For a lengthy essay, the central idea may include
more than one literary element.

What characteristics would make a central idea strong?
The central idea should be an interesting, insightful assertion about a literary element and its
significance in the text. It should be a specific idea, able to be proven with evidence from the text itself.

In what form will this central idea appear in my essay?
The central idea will appear as the thesis statement in your paper. The thesis, which should be included
in your introduction, will be composed of three parts:

Title and author (unless previously stated in the introduction)
Assertion: the interesting, insightful idea about a literary element in the text
Forecast: a preview of the main topics you will use to develop your assertion

Sample Thesis Statements:
Character:
In Susan Glaspell’s Trifles, the protagonist Minnie Wright changes from passivity to destructive
assertiveness. This change in character is indicated by her clothing, her dead canary, and her unfinished
patchwork quilt.

Setting:
In “The Cask of Amontillado,” Edgar Allan Poe uses many details of setting to create a mood of horror
and repulsion; his readers are both fascinated and repulsed by the mood of ghastliness and
heartlessness that the author establishes through his vivid descriptions of underground rooms, space,
and sound.

Theme:
In “The Story of an Hour,” Kate Chopin uses the foreshadowing of a spring setting, the transformation in
the protagonist’s feelings, and the ironic ending to suggest that an individual’s need for self-assertion or
personal freedom is even more basic than his or her need for love.

LIT1100 Introduction to Literature University of Northwestern – St. Paul

Plot:
In “The Demon Lover,” Elizabeth Bowen crafts a plot that manipulates the readers’ emotions of fear and
suspense; her deliberate and clever use

215

into an all-but-indecipherable footnote to something larger than itself. Just
such a scaling down of human enterprise can also be found in the Dickens and
Conrad passages, both of which center on an apparent reversion to prehistori-
cal time and, given the futile movement of their subjects, convey a sense of
being caught in a static, primal flux.

—RODNEY STENNING EDGECOMBE, University of Cape Town
Copyright © 2009 Heldref Publications

KEYWORDS

Lewis Carroll, Christmas Stories, Joseph Conrad, Charles Dickens, Heart of
Darkness

WORKS CITED

Carroll, Lewis. Alice in Wonderland and Through the Looking Glass. New York: Grosset, 1946.
Print.

Conrad, Joseph. Heart of Darkness. Harmondsworth: Penguin, 1973. Print.
Dickens, Charles. Christmas Stories. Intro. Margaret Lane. London: Oxford UP, 1956. Print.
———. “The Perils of Certain English Prisoners.” 1857. Dickens, Christmas Stories 161–208.
———. “The Wreck of the Golden Mary.” 1856. Dickens, Christmas Stories 131–60.
The Holy Bible. London: Collins’ Cleartype, 1957. Print.
Twain, Mark. Adventures of Huckleberry Finn. Ed. Thomas Cooley. New York: Norton, 1999. Print.

Emotions in THE STORY OF AN HOUR

In “The Story of an Hour” (1894), Kate Chopin focuses on a late nineteenth-
century American woman’s dramatic hour of awakening into selfhood, which
enables her to live the last moments of her life with an acute consciousness
of life’s immeasurable beauty. Mrs. Mallard, who suffers from a weak heart,
seems to live a psychologically torpid and anemic life until she hears the news
of her husband’s death. This news comes from her husband’s friend, who says
that Brently Mallard has died in a railroad accident. Mrs. Mallard’s sister,
Josephine, mindful of Mrs. Mallard’s heart condition, breaks the news to her
“in broken sentences” and “veiled hints” (193). But when Mrs. Mallard hears
the shocking news, she undergoes a profound transformation that empowers
her with a “clear and exalted perception” (194). As Chopin demonstrates, this
heightened consciousness comes to the protagonist because of her awakened
emotions. Revealing her own dynamic and avant-garde understanding, Cho-
pin rejects the tradition of attributing supremacy to the faculty of reason in the
act of perception, and she attributes it instead to the faculty of emotions.

216

When she hears the news of her husband’s death, Mrs. Mallard’s oblivious-
ness to the beauty of life breaks down under the powerful impact of emotion.
Until this moment, Mrs. Mallard hardly thinks it worthwhile to continue her
existence; as the narrator of the story says, “It was only yesterday [Mrs. Mal-
lard] had thought with a shudder that life might be long” (194). Her life until
this point seems devoid of emotion, as the lines in her face “besp[ea]k repres-
sion” (193). Upon hearing the news, her s

First pdf is instructions and tips. Second pdf is the THING you have to analyze. Complete the THING Analysis of a Published THING: “Emotions in The Story of an Hour” assignment. Formulate and submit a two to three paragraph analysis. This activity will help you get an informal introduction to what a literary THING looks like as well as to better your understanding of the text being written about. In your analysis: Identify the thesis and the supporting reasons for the reader’s thesis claim. Comment on how well the author proved the thesis and provide a general assessment of the THING: Is it well-written and organized? Analyze the argument: What are its strengths and weaknesses? SIDE NOTE: This is just an overview, I will pay you to do the outline next week, the rough draft the week after, and the final draft after that week.  LIT1100 Introduction to Literature University of Northwestern – St. Paul The Literary Analysis Essay In-text documentation refers to Roberts, E. V. (1999). Writing about literature (9th ed.). Upper Saddle River, NJ: Prentice Hall. What is a literary analysis essay? It is a carefully organized set of paragraphs that develop and enlarge a central idea about a literary text (22). Your essay needs to be at least 1000 words (approximately 4 typed pages) but should not be longer than 1500 words (approximately 6 pages). What is the purpose of this type of essay? The purpose is to convince your readers that your central idea is valid by demonstrating how selected details from the text relate to and support your central idea (22). Upon what should my central idea focus? The central idea should focus on a particular literary element in the text, e.g., character, setting, plot, point of view, theme, irony, symbolism, or allegory. For a lengthy essay, the central idea may include more than one literary element. What characteristics would make a central idea strong? The central idea should be an interesting, insightful assertion about a literary element and its significance in the text. It should be a specific idea, able to be proven with evidence from the text itself. In what form will this central idea appear in my essay? The central idea will appear as the thesis statement in your paper. The thesis, which should be included in your introduction, will be composed of three parts: Title and author (unless previously stated in the introduction) Assertion: the interesting, insightful idea about a literary element in the text Forecast: a preview of the main topics you will use to develop your assertion Sample Thesis Statements: Character: In Susan Glaspell’s Trifles, the protagonist Minnie Wright changes from passivity to destructive assertiveness. This change in character is indicated by her clothing, her dead canary, and her unfinished patchwork quilt. Setting: In “The Cask of Amontillado,” Edgar Allan Poe uses many details of setting to create a mood of horror and repulsion; his readers are both fascinated and repulsed by the mood of ghastliness and heartlessness that the author establishes through his vivid descriptions of underground rooms, space, and sound. Theme: In “The Story of an Hour,” Kate Chopin uses the foreshadowing of a spring setting, the transformation in the protagonist’s feelings, and the ironic ending to suggest that an individual’s need for self-assertion or personal freedom is even more basic than his or her need for love. LIT1100 Introduction to Literature University of Northwestern – St. Paul Plot: In “The Demon Lover,” Elizabeth Bowen crafts a plot that manipulates the readers’ emotions of fear and suspense; her deliberate and clever use 215 into an all-but-indecipherable footnote to something larger than itself. Just such a scaling down of human enterprise can also be found in the Dickens and Conrad passages, both of which center on an apparent reversion to prehistori- cal time and, given the futile movement of their subjects, convey a sense of being caught in a static, primal flux. —RODNEY STENNING EDGECOMBE, University of Cape Town Copyright © 2009 Heldref Publications KEYWORDS Lewis Carroll, Christmas Stories, Joseph Conrad, Charles Dickens, Heart of Darkness WORKS CITED Carroll, Lewis. Alice in Wonderland and Through the Looking Glass. New York: Grosset, 1946. Print. Conrad, Joseph. Heart of Darkness. Harmondsworth: Penguin, 1973. Print. Dickens, Charles. Christmas Stories. Intro. Margaret Lane. London: Oxford UP, 1956. Print. ———. “The Perils of Certain English Prisoners.” 1857. Dickens, Christmas Stories 161–208. ———. “The Wreck of the Golden Mary.” 1856. Dickens, Christmas Stories 131–60. The Holy Bible. London: Collins’ Cleartype, 1957. Print. Twain, Mark. Adventures of Huckleberry Finn. Ed. Thomas Cooley. New York: Norton, 1999. Print. Emotions in THE STORY OF AN HOUR In “The Story of an Hour” (1894), Kate Chopin focuses on a late nineteenth- century American woman’s dramatic hour of awakening into selfhood, which enables her to live the last moments of her life with an acute consciousness of life’s immeasurable beauty. Mrs. Mallard, who suffers from a weak heart, seems to live a psychologically torpid and anemic life until she hears the news of her husband’s death. This news comes from her husband’s friend, who says that Brently Mallard has died in a railroad accident. Mrs. Mallard’s sister, Josephine, mindful of Mrs. Mallard’s heart condition, breaks the news to her “in broken sentences” and “veiled hints” (193). But when Mrs. Mallard hears the shocking news, she undergoes a profound transformation that empowers her with a “clear and exalted perception” (194). As Chopin demonstrates, this heightened consciousness comes to the protagonist because of her awakened emotions. Revealing her own dynamic and avant-garde understanding, Cho- pin rejects the tradition of attributing supremacy to the faculty of reason in the act of perception, and she attributes it instead to the faculty of emotions. 216 When she hears the news of her husband’s death, Mrs. Mallard’s oblivious- ness to the beauty of life breaks down under the powerful impact of emotion. Until this moment, Mrs. Mallard hardly thinks it worthwhile to continue her existence; as the narrator of the story says, “It was only yesterday [Mrs. Mal- lard] had thought with a shudder that life might be long” (194). Her life until this point seems devoid of emotion, as the lines in her face “besp[ea]k repres- sion” (193). Upon hearing the news, her s

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