ASSEMBLING A PAPER A2Z

Yes AND moments

• If group X is right that __________, as I think they are, then we need to reassess the popular assumption that __________.

• X’s theory of __________ is extremely useful because it sheds insight on the difficult problem of __________.

• These findings challenge SOME GROUP’S’ common assumptions that __________.

• X matters/is important because __________.

• Although X may seem trivial, it is in fact crucial in terms of today’s concern over __________.

• Ultimately, what is at stake here is __________.

• These findings have important consequences for the broader domain of __________.

• My discussion of X is in fact addressing the larger matter of __________.

• Although X may seem of concern to only a small group of __________, it should in fact concern anyone who cares about __________.

• I initially thought [COMMON VIEW ON TOPIC]. BUT [SURPRISING DATA COLLATION PATTERN] can be linked to [COMMON VIEW DATA COLLATION PATTERN]. This reveals [SPECIFIC ALTERATION TO FIRST READ/COMMON VIEW]. (By Common View, we mean an unsurprising, expected way of viewing the subject. You’re basically saying to the reader, yeah, you thought it was this, but I’m going to show you how it’s something more cool.)

•

Yes BUT moments

• I think X is mistaken because s/he/it overlooks __________.

• If it turns out that____________, then we need to reassess the popular assumption that __________.

• Though I concede that __________, I still insist that __________.

• Whereas X provides ample evidence that __________, Y convinces me that __________ instead.

• Although I grant that __________, I still maintain that __________.

• Proponents of X are right to argue that __________. But they exaggerate when they claim that __________.

• While it is true that __________, it does not necessarily follow that __________.

• These findings have important consequences for the broader domain of__________.

• My discussion of X is in fact addressing the larger matter of __________.

• These conclusions/This discovery will have significant applications in __________as well as in __________.

• Although X may seem of concern to only a small group of __________, it should in fact concern anyone who cares about __________.

• I initially thought [COMMON VIEW DATA COLLATION PATTERN] explained the main idea of this text. But [MORE SURPRISING DATA COLLATION PATTERN] shows that [COMMON VIEW DATA COLLATION PATTERN] cannot explain all. This suggests that [SPECIFIC CONDITION] changes the [FIRST READ/COMMON VIEW] (By Common View, we mean an unsurprising, expected way of viewing the subject.)

COMBINING ELEMENTS TO CREATE A PAPER

RULES:

• You may have several shapes in one paragraph
• One shape may take up several paragraphs
• Each shape must have a clear arrow between it and its preceding/following shapes
• Generally applications bridge collations and so whats, though it is possible that two collations join together to one application, or a so what leads to another so what, which leads back to an encounter
• Summaries and details from secondary sources are collations for your purposes
• When in doubt, a "so what" is the glue between shapes
• A n arrow may connect by returning to the encounter or a central so what and then going back to a data collation
• The path will begin and end with the encounter

START THINKING HERE

SO WHAT : By looking at the insistence of heterosexual power in Ghostbusters in conjunction with the defeat of female power, we can see that male bisexuality is privately acceptable but must result in public heterosexual power, which most readers don't see; this is important because it changes our analysis by suggesting that actual sexual practices are far less important to gender relations than the display of power through heterosexual tropes.

START/END PAPER HERE

Analytical Question

a secondary source-- basically a data collation

http://www.runleiarun.com/ghostbusters/chapter11.shtml

To what extent does bisexuality replace/change heterosexulaity in terms of power over women in Ghostbusters?

So what: noting the connection between phallic symbols and female power changes our analysis, suggesting that sexuality becomes a way to conquer female power

I had initially thought that Ghostbusters reinforced masculinity. But the treatment of the marshmallow man can be linked to the idea of masculinity in the movie. This reveals that heterosexual power, as opposed to behavior, is key to the movie.If the defeat of Gozer demonstrates that men must publicly embrace heterosexuality to defeat women, the suggestion that the ghostbusters help her agent, the stay-puft marshmallow man, "get laid" would seem to endanger the men further by ceding heterosexual male power to Gozer. However, the idea of all the ghostbusters banding together with the decidedly phallic feature marshmallow man in search of a sexual experience shows how very flexible sexual behavior is as long as it results in decisive male heterosexual power over women (symbolized by the explosion of white goo over the city). In essence, the increased bisexualty of male behavior, or at least male to male connection, makes the men have more powerful moments of heterosexual control

SO WHAT : By looking at the insistence of heterosexual power in Ghostbusters in conjunction with the defeat of female power, we can see that male bisexuality is privately acceptable but must result in public heterosexual power, which most readers don't see; this is important because it changes our analysis by suggesting that actual sexual practices are far less important to gender relations than the display of power through heterosexual tropes.

Application

Paragraph 1: I initially thought that Bertocci's claim that the men must become bisexual to defeat Gozer explained the sexuality in this text. But the insistence on heterosexual power of the ghostbusters shows that a turn to bisexuality cannot explain all. One way that they are different is that the end result is an eruption of male power and sexuality that defeats a woman who disappears into a yonic space, but they are still similar in terms of men having to join together sexually for this to happen. This suggests that violence against a female character changes the turn to bisexuality in Ghostbusters. One could argue that male heterosexuality in Ghostbusters become valuable because it is a means of defeating female power. This allows considerable latitude in male sexuality--they can indeed "cross streams" and have emotionally and physically close relationships-- as long as, ultimately, their turn to each other results in overpowering a woman sexually. In this sense sexuality becomes far less important than gender relations--in essence sexual becomes a private matter as lomg as it results in public, visible domination of women through sexuality.

SO WHAT : By looking at the insistence of heterosexual power in Ghostbusters in conjunction with the defeat of female power, we can see that male bisexuality is privately acceptable but must result in public heterosexual power, which most readers don't see; this is important because it changes our analysis by suggesting that actual sexual practices are far less important to gender relations than the display of power through heterosexual tropes.

Connection: Female Power

Connection: Religious symbols

shot from below/looking up; "prehistoric bitch"

masculine apppearance "are you a god?" power over animals,

churches, pyramids,

"no one steps on a church in my town"

"are you a god"

Why does [PARTICULAR ASPECT] surface in [PARTICULAR WAY]? (order/causation/

analysis)

How does [PARTICULAR ELEMENT] modify [PARTICULAR PRACTICE/ANALYSIS/ UNDERSTANDING]?

To what extent does [ELEMENT 1] replace/change [ELEMENT B]? (order/causation/

analysis)

Data Collation: Ideal Reader according to Denecke

Contrast: reader:critic/interpreter, private: public, male mockers: female realist

Anomaly: Lilia as "non-participant"

Contrast: privacy as only way to cut through divided reading public:must remove from social to properly assess

While The Princess seems to be about the ways in which literacy allows readers to join a larger community by successfully decoding messages in a way similar to others' decodings, it actually serves as a means of creating a "private privacy" within which readers can read for their own purposes. This changes how we should think about the political purposes of literacy: rather than creating consensus, and thus a national character, literacy actually fosters a private self who is always removed from the public self.

Encounter: Big 5 + Denecke

Contrast: Human vs Animal

"Prehistoric bitch", dogs, "nimble little minx" vs "we have the tools we have the technology" "Dr."

tall buildings; churches; pyramids; shot from below/looking up; "prehistoric bitch" "we neutronized her" "we have the tools" hold guns at crotch level; "sticks"; african american man off to side; men usually shot in groups; column to sky; marshmallow man dressed like sailor; "my town"

Contrast: female power vs phallic symbols

Application

Once he has concluded the verse-narrative, the narrator in the frame confesses that he has used it to position himself "betwixt both" the male "mockers" and the female "realists" But he fears that, in order "to please them both ," he "neither pleased myself nor them" by moving in "a strange diagonal" (Conclusion 25-28). "But Lilia pleased me," he claims, "for she took no part / ln our dispute'' (29-30, emphasis added ). Though the interpolated songs are lhe poem's "best intetpreters," Tennyson does inscribe a competent reader within the frame, one whose response to the formally ambiguous poem supersedes the divisive social interests repre­sented by a misguided reading public. Tennyson now shifts our focus from reviewers evaluating the narrator's poem to the narrator's evalu­ation of Lilia for her superior aesthetic response. Her response pleases the narrator in part because it is nonpartisan; she takes "no part'' in the debate. Lilia pleases, in other words, insofar as she refrains from becoming a reviewer, a literary critic who confuses aesthetic and social interests. (220)

"The narrator countenances Lilia's alternative to reviewing not simply because she is nonpartisan , but because she is a non-participant. Lilia is an odd figure for the ideal reader, then , because her response exhibits the inaccessibility of the private self that Tennyson thematized in the verse­ narrative and the lyrics as a position that one should occupy in the public arena. For Tennyson's ideal reader is not a critic at all, but the private reader who displays a commitment to privacy as a viable option within the public arena. The narrator faced with reviews expressing the divisive social interests of a divided reading public implies that such a display of privacy is the only adequate way to assess the poem, the poet. and ultimately poetry itself. (223)

What, then, is the reader's stake in reading? What cognitive processes allow this form of privacy and how can a reader not have a politicized literacy?

Connection: Phallic Symbols

tall towers, buildings, hold guns at crotch level, call them "sticks" "tools," marshmallow man explodes into white goo...

Good encounter questions tend to be open-ended.

Encounters usually focus on a specific part of the object of inquiry

Encounters usually focus on the higher learning objectives

Anomaly

3 Caucasian men shot as a group, touch each other often, cross streams

Daniel Denecke

"The Motivation of Tennyson's Reader: Privacy and the Politics of Literary Ambiguity in The Princess."

We've attached a pdf to the link to this week's lecture

In "The Motivation of Tennyson's Reader: Privacy and the Politics of Literary Ambiguity in The Princess," Denecke suggests that reading is ideally a private space that allows retreat from a public world that requires consensus. Denecke's point about a private reader explains Ida's desire to create an isolated school for the ladies. However, it does not address the movement back and forth between the public and the private that structures The Princess. For instance, it is only Ida's "awful odes" that convince the king not to consent, but to give his land to her and, equally, her reading of the lyrical poems convince her to love, which convinces the Prince to work with her for what he thinks are motives of love, while she is still focused on the political. So, Ida gets her desired outcome, but not in response to shared belief. This alters our understanding of literacy. Yes, literacy creates national actions and thus has political power (it's significant that this is about a Prince and Princess--their actions perforce have national implications). However, this action does not come from a shared agreement about goals, but rather a movement toward consensus that arises from misinterpretations of private moments. Since these private moments in the poem are always in response to poetry, Tennyson is suggesting that literacy allows the reader to retreat to a private space that ultimately has some political effectivity, in action if not in meaning.

T

Denecke begins by contrasting people who have read the lyric elements of the poem as purely aesthetic and those who have read the narrative poetry part as being about ideological issues (nation, gender)

Wants to bring together, arguing that "the fact that the lyrics and the verse-narrative have attracted two different kinds of critics has blinded both to the extent to which The Princess , constitutes a defense of poetry in the sense that it explores the distinctive political effects of lyric and song" ( 201)

Specifically he argues that "By situating the lyrics within a verse-narrative about women 's higher education, Tennyson developed an argument about the polit­ical effects of poetry with a degree of sophistication not recognized by either fans of his fine ear or critics of his social agenda" (202).

So the discussion of the college becomes the means to develop an encounter about literacy and politics.

"I first suggest that the poems within the poem play a crucial and hitherto neglected role in what appears as lda's conversion. The lyrics within the verse narrative and the songs between the parts make it appear that Ida's experiences a revelation about her true identity as her interests in radical feminism yield to a desire for domestic bliss. But more importantly, I argue, Tennyson ultimately renders Ida's interior state opaque" (203).

We never get a direct telling of Ida's feelings and "ambi­guities within the lyrics continually fail to provide any unequivocal reve­lation of identity with which Ida as a reader of these lyrics might identifty" (203)

"Victorian double bind: women are excluded from the education that would prepare them for full citizenship because they need not be citizens, and-like the working class-they cannot be granted citizenship yet because they lack the necessary education...Poetry plays a central role in both of these endeavors. In the passage above [Gama talking about Ida's feminist beliefs in Canto II], we see "odes," "rhymes,'' and "lyrics" deployed for their affective capacity to consolidate and dissemble particular forms of interest. The poems have two distinct effects. First, they "master" Gama in to giving the women use of his summer estate, and thus displace the sover­eign's interest in consolidating the nation-state through the marriage of the northern Prince and the southern Princess. At the same time, these poems are designed to instill within women a sense of identity as a group, in conflict with men, which lda and the other leaders of the movememt seek to have represented in a fair political and social structure." (207)

Takeaway for us: literacy, particularly poetic literacy, is sen here as a means of creating political action

BUT "Throughout the remainder of The Princess, Tennyson criticizes such a didactic model for the political use of poetry. He aims his critique at the notion that lyric poems could ensure predetermined political outcomes by having predictable effects on the private self...the extent to which their private lives have been constructed by literary conventions that serve insidious political ends" (207)

Encounter Shaped by a "Yes But"

In what ways does The Princess link literacy with political concerns? What sort of reading does it valorize and why?

Yes, Lilia functions as a reader who listens without taking sides, which may suggest she has found a way to be literate but yet private politically, but what about Ida? How is she using literacy to manage the public and the private in her school?

• The lyrical poems demonstrate the impossibility of bringing together private self and public identity: the poems always allow for multiple ways of decoding them cognitively, so there is no agreed upon decoding
• "Though they provide diametrically opposed accounts of the political value of ambiguity within literary education, both Armstrong and Bennett see ambiguity as an occasion to exercise a particular form of subjectivity, where the reader comes to internalize irresolvable options. In sum, where Armstrong would read Tennyson's lyrical ambiguity as an occasion for reveling in the oscillation between conservative conversion and subversive crypto-feminism, Bennett would read this verse's oscillation between irresolvable options as the uniquely modern form of conversion: from publicity to privacy, from agency to subjectivity...
• In The Princess, Tennyson's account of literary ambiguity looks
• radically different from either Armstrong's or Bennett's accounts precisely because it depends upon acknowledging the privacy of the private self. Tennyson's burlesque, already attuned to the social function of literary ambiguity, criticizes the framework of conversion and subver­sion within which critics continue to occupy positions on the politics of ambiguity. Far from serving as a modern technique for producing a mass subject, literary ambiguity provided Tennyson with a means of acknowledging the impossibility of standardizing private life through literature-even if we wanted to. (222)

Suggests that Tennyson is drawing on a literary tradition of Jewish conversion narratives that related to contemporary debate about enfranchisement for Jews (last group excluded by religion), as well as condition of England novels, which, Denecke argues, Tennyson transferred to questions about female enfranchisement

Takeaway for us: Literacy here required a familiarity with a certain type of genre, an awareness of how Tennyson's version broke conventions/expectations, and an ability to transfer that to political purpose

"the notion that genuine social cohesion depends upon aligning public structures with determinable forms of the private self. In partic­ular, Tennyson attempts to show both that lyric poetry consistently fails to secure such an alignment and that this failure is an occasion for polit­ical optimism, not despair" (206)

"Tennyson acknowledged the extent to which Victorian literary conventions were constantly making a particular form of the individual's private life at best a prerequisite and at worst a substitute for the resolu­tion of political conflicts faced by a British public" (217)

marshmallow man:

sailor looking "to get laid"

slits in face

masculine identification

manly profession

Data Collation: Ida on Separation

Contrast between public and private.

Connections for the public: it is contentious, poetic, effective in action if not in communication, leads to private retreat

Connections for the private: it is removed, outside the law and space of kingdom, it is poetic, leads back into the public

Two widows, Lady Psyche, Lady Blanche;

They fed her theories, in and out of place

Maintaining that with equal husbandry

The woman were an equal to the man.

They harped on this; with this our banquets rang;

Our dances broke and buzzed in knots of talk;

Nothing but this; my very ears were hot

To hear them: knowledge, so my daughter held,

Was all in all: they had but been, she thought,

As children; they must lose the child, assume

The woman: then, Sir, awful odes she wrote,

Too awful, sure, for what they treated of,

But all she is and does is awful; odes

About this losing of the child; and rhymes

And dismal lyrics, prophesying change

Beyond all reason: these the women sang;

And they that know such things—I sought but peace;

No critic I—would call them masterpieces:

They mastered me. At last she begged a boon,

A certain summer-palace which I have

Hard by your father's frontier: I said no,

Yet being an easy man, gave it: and there,

All wild to found an University

For maidens, on the spur she fled; and more

We know not,—only this: they see no men,

Not even her brother Arac, nor the twins

Her brethren, though they love her, look upon her

As on a kind of paragon; and I

(Pardon me saying it) were much loth to breed

Dispute betwixt myself and mine

So she low-toned; while with shut eyes I lay

Listening; then looked. Pale was the perfect face;

The bosom with long sighs laboured; and meek

Seemed the full lips, and mild the luminous eyes,

And the voice trembled and the hand. She said

Brokenly, that she knew it, she had failed

In sweet humility; had failed in all;

That all her labour was but as a block

Left in the quarry; but she still were loth,

She still were loth to yield herself to one

That wholly scorned to help their equal rights

Against the sons of men, and barbarous laws.

She prayed me not to judge their cause from her

That wronged it, sought far less for truth than power

In knowledge: something wild within her breast,

A greater than all knowledge, beat her down.

And she had nursed me there from week to week:

Much had she learnt in little time. In part

It was ill counsel had misled the girl

To vex true hearts: yet was she but a girl--

'Ah fool, and made myself a Queen of farce!

When comes another such? never, I think,

Till the Sun drop, dead, from the signs.'

Her voice

choked, and her forehead sank upon her hands,

And her great heart through all the faultful Past

Went sorrowing in a pause I dared not break;

Till notice of a change in the dark world

Was lispt about the acacias, and a bird,

That early woke to feed her little ones,

Sent from a dewy breast a cry for light:

She moved, and at her feet the volume fell.

'Blame not thyself too much,' I said, 'nor blame

Too much the sons of men and barbarous laws;

These were the rough ways of the world till now.

Henceforth thou hast a helper, me, that know

The woman's cause is man's: they rise or sink

Together, dwarfed or godlike, bond or free:

For she that out of Lethe scales with man

The shining steps of Nature, shares with man

His nights, his days, moves with him to one goal,

Stays all the fair young planet in her hands--

If she be small, slight-natured, miserable,

How shall men grow? but work no more alone!

Our place is much: as far as in us lies

We two will serve them both in aiding her--

Will clear away the parasitic forms

That seem to keep her up but drag her down--

Will leave her space to burgeon out of all

Within her--let her make herself her own

To give or keep, to live and learn and be

All that not harms distinctive womanhood.

How does Zunshine's intervention on the public and private functions of reading test or alter our complicated picture of the public function of (private) subjectivity (which hinges on literacy but doesn't work through communication, which requires a retreat from the public only to return to it later)?

the emphasis on the fluidity of sexuality suggests we need to examine why they defeat a symbol of masculine heterosexuality

CONNECTORS!!!

Data Collation

p 167-170

Connection: different types of comprehension

Problems of Definition (Popper, Interpretation examples)

Comprehension in different contexts:

Novel/poem=experience

Textbook=analytical thought

Telephone book=key

Recipe=steps

But this can vary

Application

How do/es some theory/ies help to understand/explain the function of a particular object?

The multiple definitions and types of comprehension in reading reveal a connection of multiple interpretations. Smith is saying that there is a pattern of how reading happens, and that it happens in different ways for different poeple and purposes. He adds that this proves simple definitions of comprehension are "inadequate for the richness taht is reading." Thus Smith suggests that the notion that comprehension is a basic element of literacy, can be modified to understand that the activity and process of reading is dependant on not just what is read, but who is reading it.

So What

mega so what

Literacy seems to be about the neurological act of comprehension, but it’s really about the neurological purposes and attitudes of those reading. This changes our analysis of what comprehension is by asking us to focus on reader's needs at a particular moment.

Application

So What

Data Collation

Literacy seems to be about the pedagogy of specific skills, but it’s really about the neurological state of the reader in terms of experiences with reading. This changes our practice of pedagogy by shifting the focus to quality of reading experiences rather than specific skills.

Studing the effects of reading reveals some anomalies about things reading can achieve that other forms of thinking cannot. While Smith classifies reading as part of a larger pattern of thinking, he argues that one can only learn about reading and writing through reading. He also adds that reading offers specific emotional satisfactions that may be less available in other types of thinking, including the amount of control and the ability to create stories. Thus Smith suggests that the idea that pedagogy should be based simply on specific skills can be modified to understand the "creative experiential interaction" and the "quality of the experience" of the reader in interacting with the text.

Application

p 167-170

Connection: prediction at different levels

Text predictions (what something means for a relevant purpose) takes place at different levels:

letters

words

meanings

Readers look for each level in print to answer different questions

don't look for same levels/same answers at the same time

p 179-182

Anomaly: Specific consequences of reading

knowledge about reading, writing (grammar, selling, punctuation, pargraphing, style), academics; membership in club of literacy and knowledge

a form of thinking in which we make choices, predict, anticipate, but have the luxury of control over events.

Connection: positive emotional aspects: reading can develop positive aemotional attitudes towards the act, and stories are perhaps most satisfying element of thinking

So What

Some Collation of Theory

Text predictions reveal a connection in the fact readers look for different answers at diffrent levels. This reflects that, for Smith, literacy values "the potential of answering certain questions." Print does not matter in terms of the particular symbols it uses, but on how ansswers can be obtained, which may take place at the level of words, letters, or meaning. Thus Smith suggests that the idea of fluency can be modified to understand how well a reader is able to find answers to the particular questions he or she is asking.

How does understanding different purposes affect how we define the neurological act of comprehension?

How does understanding what readers look for in a text modify how we define fluency?

To what extent do the intentions of the reader and the writer shape the meaning of the text?

To what extent does fluency depend on familiarity rather than specific skills?

How does an emphasis on reader's experience modiify the pedagogy of reading?

Literacy seems to be about the neurological act of decoding symbols, but it’s really about the neurological act of finding answers to questions developed by readers. This changes analysis of what fluency is by turning to the question of what literate readers actually want to get from a text.

A Handy Dandy Pattern for Applying Several Theories to an Object of Study

It is very likely that at least some parts of some theory (or theories) of something will adequately explain your object. In other words, up to a certain point, it is likely that there will be a yes AND relationship between your object and the theoretical lens. This collation will help you get more specific (about how/why something functions/is effective ). Start here.

After that yes AND there will be a remainder—some part of your object that the lens doesn’t adequately explain. This part of the paper will collate the yes, BUT between your object and an element of the source(s) from the yes AND to create a so what about what particular element/definition/assumption does not apply

This gap identified by the yes BUT will allow you to apply a NEW yes AND—a way of looking at the object that you had not thought about before. This is where a new source will come in if you are using only 2 (though it is infinitely repeatable). In this third section, you will collate a way of reading some element of your object with what didn’t fit in section 2—in other words you will resolve the difficulty you identified.

The mega so what, then, given at the start of the draft, will be a claim about how looking at these two (or more) sources allows you to make very specific, surprising claims about how your object functions.

some collation of object

So What

Yes BUT

Literacy seems to be about the neurological process of gaining specific reading skills, but it’s really about the neurological process of being familiar with the conventions of ceratin types f writing. This changes our analysis of fluency by suggesting it depends on familiarity with a type of text rather than having a certain set of comprehension skills.

collation of yes BUT in object

Application

So What

Some Collation of NEWTheory

Literacy seems to be about the neurological act of comprehennding a text, but it’s really about the purposes with which a reader approcahes reading a text or a writer approaches writing it. This changes our belief in the neurological relationship betwen text, reader, and writer by suggesting the three constantly interact rather than are always in interaction with a set text with a set meaning.

Smith's examiniation of fluent and beginning reading reveals a contrast between the modes of reading. He suggests that fluent readers' reading is "purposeful, selective, anticipatory, and based on comprehension." Readers may have fluency in some types of reading, but not others: there is no such thing as someone who can fluently read anything. Thus Smith suggest that idea that having specific reading skills guarantees fluency, can be modified to understand that experience with certain types of texts leads to fluency at those types of texts.

Using a So What as a Map

Yes AND

Application

Smith's focus on reader's predictions and authors intentions reveals a connection between the interactions between different levels. Smith suggests that there are larger, global, needs and smaller, focal ones, and a reader may comprehend one level without comprehyending another. Equally, a writer may have a clear intention of "certain pathwyas of ideas" but specific focal concerns may shape the book or need to be revised for the sake of the book.Thus Smith suggests that the idea that readers and writers interact with a "static text," can be modified to understand rather that they are involved in a "dynamic" process based on both readers and writers specifications.

Data Collation

178-180

Contrast between fluent and beginning reading

Fluent= familiar (with that type of text) and skilled. Id individual words, use nonvisual info, are purposeful, selective, anticipatory and predict based on comprehension

flexible with intentions and expectations, both own and the writers

Beginning=not there. Depend on individual words instead of overall meaning.

Every reader will have some texts with which they are fluent, others with which they aren't: in which case will read like "fluent" or "beginning" reader in that case--approaches are same

Data Collation

p 170-177

Connections--how Readers predict what are writer's intentions:

Multiplex levels

Car driving example--have both long term route to map where you're going and moment by moment decisions (braking, avoiding traffic)

Global issues: title, genre, chapters

Conventions: genre, story, registers

Focal issues: sentences, paragraphs

Conventions: grammar, discourse, syntax, idiom, semantics

Focal choices more sudden and short term

This essay, then, is an exercise in applied semiotics.2 I will

argue for four theses. First, that Poe’s Law may be rendered in a number of ways, each expressing either (1) a semiotic-interpretive difficulty of indirect discourse generally, (2) the polarized attitudes of online audiences, or (3) the quality of online religious material. Second, that Poe’s Law has relevance in progressively wider circles as a consequence of the polarization of other discussions. Of particular importance

are the political analogues of invoking Poe’s Law. Third, regular invocations of Poe’s Law or similar sentiments in critical discussions online or otherwise have the threat of further entrenching and polarizing views. And fourth, there are various philosophical lessons to be learned from the Poe’s Law phenomenon, and as I sort through four competing takes, I will argue, finally, for three rules of augmentative responsibility that arise in light of the philosophical lessons.

I will argue for four theses. First, that Poe’s Law may be rendered in a number of ways. Second, that Poe’s Law has relevance. Third, there are regular invocations of Poe’s Law or similar sentiments in critical discussions online. And fourth, there are various philosophical lessons to be learned from the Poe’s Law phenomenon, .

Type 1: No Claim

Problem: there is nothing at stake, no issue to be resolved; the thesis leads to listing rather than analysis

"Ghostbusters is a movie that has a lot of phallic details"

Solution: turn to specific details and ask “why” or “how”

"Why does Ghostbusters employ so many phallic images?" (the answer to this would be your thesis/so what"): "By focusing on phallic images, Ghostbusters changes our understanding of the film by suggesting it is primarily concerned with how men can reassert power in a world with increasing female power."

Type 2: Obviously True Claim

Problem: the statement does not require proof, so there’s no point in writing about it

"The men in Ghostbusters band together to defeat the demon"

Solution: Turn your statement into a question and make an assertion that readers might disagree with

"How do the men defeat the demon?" "The men use displays of heterosexual power to defeat the demon which changes our understanding of male sexuality by connecting it to power over women "

Type 3: Conventional Wisdom

Problem: because almost everyone agrees with the statement, there is no room for analysis or development

"Ghostbusters show that people are not comfortable with women gaining power"

Solution: look to complicate the subject by taking multiple points of view

"The pattern of anti-female images in Ghostbusters changes our analysis of the order in which male fears about female power surface by suggesting that when women gain power men primarily fear the loss of male camaraderie."

Type 4: Personal Conviction

Problem: like conventional wisdom, these statements tend to be reaction rather than analysis; they prevent exploration of an idea

"I think it's great that women got more respect during the time period in which Ghostbusters was filmed"

Solution: try to replace opinions with ideas, which question and complicate claims rather than repeating them

Are women being shown as having actual power here? "The fact that the demon can only exercise power through proxies such as the dogs and the stay puft marshmallow man changes our analysis of feminism in this film by suggesting that women can only have power through manipulating men."

Type 5: Overly Broad

Problem: the thesis avoids complexity and could be said about almost any topic. Watch out for phrases such as “advantages and disadvantages” or “pros and cons”

"Ghostbusters shows the pros and cons of women gaining power"

Solution: Rephrase your ideas by replacing broad nouns with specific ones, weak verbs with strong ones and vague adjectives with specific ones. If you are talking about two ideas or sides, try to subordinate them: does one (newly specified) idea outweigh the other?

What kind of power do women have? "The pattern of yonic symbols changes our analysis of female power by insisting that women still, ultimately, can be reduced to their sexual and reproductive functions"

What are pros and cons? which ends up having more power? why?

role of the natural world yes BUT/AND male/female relations

The way the speaker in “Dover Beach” talks about how the Sea of Faith, “Was once too, at the full, and round earth’s shore” is surprisingly different than the way he says the Sea of Faith is now, “But now I only hear/ Its melancholy, long, withdrawing roar,” in terms of components. By this, I mean components is what made the Sea of Faith how it is in it being “full” at the beginning of the stanza and touching everything while there is a striking difference in when he explains how the Sea of Faith is now melancholy, it no longer touches things, distant, shifted sense from touch to hearing. Noticing this pattern a shift from a physical inability to escape to a non physical inability to be found/placed he has seeming to grow suggests that “Ah, love, let us be true” in this line he seems to hope that this love he has will be true and will not cause him pain or sadness. is also a part of this collation because it explains how this new decision he made to let this woman in can help him be full again and he does not have to be sad about this emptiness for long. X in this situation would be how the speaker has a deeper feeling toward this new relationship than what is just written in the poem.

RULES:

• You may have several shapes in one paragraph
• One shape may take up several paragraphs
• Each shape must have a clear arrow between it and its preceding/following shapes
• Generally applications bridge collations and so whats, though it is possible that two collations join together to one application, or a so what leads to another so what, which leads back to an encounter
• When in doubt, a "so what" is the glue between shapes
• A n arrow may connect by returning to the encounter or a central so what and then going back to a data collation
• The path will begin and end with the encounter

What conditions, influences or events caused shift from a physical inability to escape to a non physical inability to be found/placed to be as it is?

The poem does seem to suggest there is a loss of actual touching and connection in the world, and that loss happens after direct contact with a "love" who the speaker directly addresses. The poem sems to suggest taht contact with a specific individual leads to detachment from the larger real world. He suggests a loss of the natural world

How or why did it become what it is?

<--very long encounter

The opening paragraph will introduce the encounter, either by directly asking the question or explaining why it is an interesting question and give your uber so what for the whole paper (which, if you're like me, you won't know until you finish the paper)

<---what will become so what

In "American Handstand," John Stewart addresses the police reaction to the St Louis Ram's "hand's up don't shoot" gesture before a game. He places the event within the larger context of the NFL in the news and the role of journalism in such issues. He traces the discussion that erupted between the Ram's management and the Ferguson PD over the symbolic act, satirizing their quibbling over the meaning of the term apology through increasingly ridiculous fake tweets.

Encounter

How does a better understanding of context change how the satire is read?

Like what you see? Template the sucker!

Why does [PARTICULAR ASPECT] surface in [PARTICULAR WAY]? (order/causation/

analysis)

How does [PARTICULAR ELEMENT] modify [PARTICULAR PRACTICE/ANALYSIS/ UNDERSTANDING]?

To what extent does [ELEMENT 1] replace/change [ELEMENT B]? (order/causation/

analysis)

So What?

Encounter

Why does connection and disconnection to the physical world surface in terms of causation of marital relationships in Victorian England?

Noticing John Stewart's emphasis on symbols and language in terms of Ferguson changes our analysis

by

[HERE YOU EXPLAIN THE CHANGE].

yes AND/BUT actual ways the world can be described

The speaker explains in the beginning of the poem that “The sea is calm tonight.” is surprisingly different than how he describes it at the end of the stanza, “Listen! You hear the grating roar” in terms of placement/timing. By this, I mean placement/timing is how Arnold decides to put the text in this specific sequence, how he is explaining how first “The sea is calm tonight” while there is a striking difference in how the sea goes to being restless, “Begin, and cease, and then again begin” in terms of how his feeling of this new path in his life feels to him. Noticing this pattern of how he uses his explanation of what the sea is feeling suggests that he is not sure of how he likes the way his life is going is also a part of this collation because it puts more emphasis on how he thinks his life is becoming more and more restless with his new found lover. X here would be his changing life from calm to restless.