Transcript of New Paper 1
John A Stenzel: I am hoping that these chats can become an on-line discussion section / brainstorming area for this class. As in all aspects of the UCD network, please respect the integrity of the electronic resource, and treat other participants with respect as well!
John A Stenzel: I will try to be on-line this evening at 10PM (Tuesday 4/25) and tomorrow (Wednesday 4/26) to answer questions about the paper. Hope this works.
Aaron P Hiers: so is it just you and me in here?
David Bekhour: That seems to be the case.
Margaret Ellen Slatterly: I am here. What are we supposed to talk about?
Andrew Steven Delfino: Where is John?
Andrew Steven Delfino: Where is John?
Aaron P Hiers: just curious, are you writing a five paragraph style essay or something different
Andrew Steven Delfino: Mine probably won't be five paragraphs when I'm done. It is too hard to follow a poem in that style. That is just my opinion.
Aaron P Hiers: no john yet
David Bekhour: Who?
Andrew Steven Delfino: John Stenzel
Aaron P Hiers: andrew- no just five paragraphs but a basic thesis, support, and conclusion essay
Andrew Steven Delfino: Is anyone else doing "The Sonnet" by Rossetti?
Andrew Steven Delfino: Aaron- oh yeah, that is the best way to write any English paper I think... at least any analytical paper. In that respect, that is what my paper is too.
Aaron P Hiers:
Aaron P Hiers: is anyone doing "my last duchess"
Margaret Ellen Slatterly: Ok I just figured out what the refresh button does.
Andrew Steven Delfino: No Stenzel yet... I'll try back later. Good luck to you all.
Margaret Ellen Slatterly: I am doing my paper on sonnet 32 by Elizabthe Browning.
David Bekhour: I'm doing sonnet 17 from Modern Love
Margaret Ellen Slatterly: Are you finished with your paper yet?
Aaron P Hiers: what are some general ideas to look for and or write about?
Aaron P Hiers: for any poem
Margaret Ellen Slatterly: Imagery
David Bekhour:
David Bekhour: (sorry, wrong button) :-/
Margaret Ellen Slatterly: Also, what the poet means, not what they are telling you
Margaret Ellen Slatterly: What do you think?
Aaron P Hiers: margaret- so for "my last duches" would it make sense to talk about inequality between the sexes?
Aaron P Hiers: and than support it with examples from the text
Margaret Ellen Slatterly: Is that what your passage represents?
Aaron P Hiers: yes
Margaret Ellen Slatterly: I think that sounds right then. Is John supposed to be on line?
Aaron P Hiers: yes he is
David Bekhour: I think he said he was going to try to join us...
Aaron P Hiers: looks like only 3 people are in here
David Bekhour: In the introduction, do you guys think it is appropriate to place the author in time and place?
Aaron P Hiers: how do you mean?
David Bekhour: Such as when and where he/she was likely to have written the poem...
Aaron P Hiers: if it has significant meaning to your essay than go for it
Margaret Ellen Slatterly: It is a short paper- I would not discuss it unless it is really relevant to the poem.
Margaret Ellen Slatterly: Did you guys incorporate rhetorical devices into your paper? Do we need to?
Andrew Steven Delfino: I'm having trouble cutting down on the amount of stuff I talk about. I have about over five pages right now.
Andrew Steven Delfino: How do you know what is most important?
Margaret Ellen Slatterly: Just get straight to the point-no b.s.
Andrew Steven Delfino: yeah, I think a lot of what i've written is crap right now.
David Bekhour: <--- Always has a hard time leaving out the b.s.
Andrew Steven Delfino: I here that.
Andrew Steven Delfino: How are you guys ordering your paragraphs? Do you just go from one section of the poem to the next and discuss or what?
David Bekhour: On the assignment sheet, the description of part two might be characterized as a rough outline: How closely do you think he wants us to follow this order and content (ie-1st briefly indicate what the passage does, next quickly walk your reader through the passage, then what insights does your analysis furnish, etc.)?
Margaret Ellen Slatterly: I think it is just a general outline. I did not follow it line by line word for word.
David Bekhour: Ok
Andrew Steven Delfino: It seems like that it is between that step by step approach to analysis or going through the poem and dispersing the analysis through out. So you are going through the rough outline of the assignment sheet? Is it working well?
Margaret Ellen Slatterly: I organized my paper by just taking my reader throught the poem, and refering back to the begining of the poem sometimes to strengthen my argument.
Margaret Ellen Slatterly: I followed the outline loosely, hopefully that is ok. How about everyone else?
Andrew Steven Delfino: I tried Stenzel's turned-off-monitor suggestion, so my rough draft is very rough. I'm trying to decide how to pull the shreds together.
Andrew Steven Delfino: I'm leaning towards your way, though.
David Bekhour: I'm not doing anything except trying to develop my own outline to work from at this point; then the true writing for me begins.
Andrew Steven Delfino: The structure of this assignment doesn't lend itself very easily to an outline. Kind of more jumping in and walking through the poem and analyzing. I usually outline though, so I'm having trouble getting organized.
Margaret Ellen Slatterly: well I am logging off-nice to chat with you guys. Good luck writing!
David Bekhour: I'm noticing that too
David Bekhour: Thanks, you too
Christin Joy Munson: Hi, is anyone still online?
Andrew Steven Delfino: Is anyone else here?
Andrew Steven Delfino: I'm still online, trying to figure out what to do with my paper. How's yours going?
David Bekhour: I've gotta go myself; happy writing all!
Andrew Steven Delfino: I guess everyone is leaving. Anyone staying?
Andrew Steven Delfino: i guess i too will leave. Good luck.
Vanessa Lavenia Jones: is john still here?
John A Stenzel: Lavenia--are you still there?
John A Stenzel: It's 11 PM. My rehearsals ran way late, and my machine was not configured correctly until just now. Inauspicious start to the electronic chat! Gack.
Just in case any of you check back, let me qickly address a couple of points: David, don't worry too much about the introduction containing a lot of info about the author--it'll flow from the main analytical thrust. Don't hash over Norton intro stuff. Andy--as far as organization goes: be sure you let the poem help organize for you: that's the joy of an assignment like this--you can walk us through pretty straightforwardly, and then transition out to some of the subsidiary questions. Margaret--you're on the right track. Follow the directions and you can't go wrong. As far as "rhetorical devices" I would say, yes look at the ways the poet manipulates the reader for example, but you need not simply list devices for the sake of listing....
I will be on tomorrow REALLY now that the bugs are worked out. I'll also keep checking back tomorrow during my extended office hours. Thanks for being good sports about this!
Jackson Dupree Pritt: Looks like I slept right through whatever happened, though luckily it wasn't much. I should be on tomorrow, though one never knows. Pooh. I must say that this "chat" looks sort of gross though... More like a weird message board than an actual chat room... Oh well. Anything is better than nothing (in most cases). --- HEY! Before I go, My Paper Topic is the last 30 lines of Porphyria's Lover. My biggest question right now is WHAT IS PORPHYRIA'S "DARLING ONE WISH"(L57)??? --- I'm starting to think that her "lover" may have some greated significance than just being a madman, and may in fact be either Death, or Satan, though I'm having some trouble supporting either. However it seems somewhat like Browning means for him to be somthing more than just mad, and it's VERY odd that the Lover makes no movements towards nor speaks to Porphyria at all until he kills her. In fact she seems to not notice him at all when she enters the room, and it says that she "calls" to him, even though she is already right next to him, having sat down by his side (L14+15), all of which seem to indicate that the "Lover" isn't an actual physical prescence... And the murder itself has something to do with some sort of "dearest wish" that she is too weak to carry out... While this may be "passionately culminating their relationship", to put it politely, they don't actually do that, yet the Lover states clearly that now that he has killed her, she has gained "her utmost will"(L53). And what is "all she scorned" that "at once is flead"(L54)? --- Discuss! :-)
Jackson Dupree Pritt: PS: Rehersals for what? I'm just curious. Also everyone should take classes at the Craft Center. It's really a great resource and a fun, easy way to learn lots of different artistic skills. So far I've taken classes in photography, ceramics, and stained glass there, and I'm taking another photo class and a screenprinting class later this quarter. Loads and loads of fun, highly reccomended for everyone, no artistic talent required. :-)