Rhetorical Analysis Surprise ! It Is A Writing Class !

Generally, most readings in this class have been about the process of writing (Surprise! Surprise! It IS a writing class!) and they have taught me how to effectively and concisely use supporting evidence in any written work. For instance, I gained knowledge of the proper usage of supporting evidence after writing a second self-reflection journal in which it asked me to use handouts in order to support my discussion on a specific topic you gave us. In the journal, I incorporated ideas from your handouts and written articles you provided us in order to support my claims. By reading the assigned â€Å"Rhetorical Choice Analysis† handout I learned that there are several types of supporting evidence: examples, experts, explanations, and no-prose†¦show more content†¦In all three projects the genres of the papers were different every time. For example, in project 1 the genre was an essay, in project 3 it was a user’s guide, and in project 3 you gave us the choice to a discourse community. In project 1 I did the best out of all three projects with regards to genre because you gave me an â€Å"A† grade for that specific portion of the requirements in the assignment. According to the handout you provided us with through Smartsite, â€Å"Academic Essay Structure,† I expanded my knowledge on the specific parts required for an essay genre: the introduction with a thesis statement, the body paragraphs that support the thesis, and the conclusion. Therefore, I made the proper choice in project 2 to include these components of a standard essay. Properly incorporating the elements for an essay genre into my project 1 gave me a grade of an â€Å"A† in the feedback regarding this section. Being able to incorporate the proper format of a genre into project 1 allowed me to choose my own genre choice in projects 2 and 3, where I showed improvement by fixing the mistakes I made after the first submission, along with project 1. Throughout the course of the quarter I amplified my capacity to not only write but also to to be able to judge and edit my own writing. In all three projects we were given the chance to make

What Makes A Smart Person I Ever Met Essay - 1342 Words

Have you ever been in a situation where you felt so simple minded or slow because you didn’t understand something? Well†¦ that’s me on a day to day basis. My family always told me â€Å"Boy your light always seems to be on but it doesn’t shine too bright†, or I get one of these â€Å"You are the dumbest smart person I ever met†. They tell me things like this because I was always book smart but never had too much common sense. I don’t know why but little things seem to go over my head. So during my younger years and sometimes at this age I get caught without my thinking cap on unless I’m in a classroom setting. Its been time when people made jokes and I didn’t catch em and I would feel a tad bit slow but I’ve learned to accept it. The bulk of my lack of common sense moments came during the basketball season. For whatever reason it takes me a Tad bit longer to understand things like plays and defensive rotations and as signments. Basketball is a mental and physical sport and sometimes my coach and my teammates had no problem making me feel like I was mentally retarded super-strong, Super-aggressive basketball player. My teammates would say things like â€Å"Bill (my basketball/high school nickname because of my Bill Russell style of play) the play is not that hard just pay fucking attention stop acting like your stupid†. And my coach said he would take my playing time away from me because I couldn’t learn the team strategies and techniques properly. This made me feel like I wasn’t needed onShow MoreRelatedPersonal Statement : My Family907 Words   |  4 PagesFriends are like family that you are able to choose. I never understood the truth that statement held until i met the group of people I now consider to be my best friends. For years i spent a lot of time by myself. Most of my friends were acquaintances that I only spoke to at school. As a nervous fourteen year old, high school was a lot of things in my head. 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The Sitcom Of Television By William Asher s Bewitched ...

Situation comedies, or sitcoms for short, first began between 1946 and 1947 in the United Kingdom when broadcast station BBC aired Pinwright’s Progress (Aaron,2014). The United States soon followed airing their first sitcom in 1950. William Asher has been credited with being the â€Å"man who invented the sitcom,† having directed over two dozen of the leading sitcoms from the 1950s through the 1970s (Cook, 1999). Some of Asher’s finest works include â€Å"Bewitched† and â€Å"I Love Lucy†, classics that are still around today. Although situation comedies have been able to withstand time, even with new evolving technology that allows a high focus on effects that have allowed science fiction shows to thrive, they are far from where they began from William Asher’s time. Television has always portrayed the culture of the time and in the 1950s a very domestic picture was painted. Family, marriage, and an obedient housewife were all a common factor in sitcoms during this time. Contrary to popular belief, sitcoms in the 1950s rarely portrayed men as loving, doting, patriarchs, but rather as distant providers of the family with stick and stern rules for both their children and wife. (Anderson, 2012). Although television has changed rapidly since the 1950s I argue that the representation of men in sitcoms have evolved very little over time. Using both sitcoms from the 1950’s and today I plan to prove that an emphasis on masculinity and male dominance have remained a common underlying theme since

Bring Out The Big Guns Essay Research free essay sample

Bringing Out The Big Guns Essay, Research Paper Bringing out the large guns The War Against Clich # 233 ; Martin Amis ( Vintage ) A contentious rubric for a aggregation of what is considered # 8211 ; by non-practitioners # 8211 ; to be a civilized art: book-reviewing. Well, it # 8217 ; s non. And contending against clich # 233 ; is every bit good a stance as any to follow. Here is Amis on Michael Crichton # 8217 ; s The Lost World ( Malcolm and Rossiter, by the way, are # 8220 ; characters # 8221 ; in the novel ) : # 8220 ; The word picture has been delegated to two or three thrashed and downtrodden adverbs. # 8221 ; ( Amis here inserts a expressionless half-paragraph of choice citation, where everyone either says things # 8220 ; testily # 8221 ; or # 8220 ; gloomily # 8221 ; . ) # 8220 ; Malcolm seems to have # 8216 ; gloomily # 8217 ; ; but so you irritably notice that Rossiter is acting # 8216 ; gloomily # 8217 ; excessively, and gloomily detect that Malcolm is acting # 8216 ; testily # 8217 ; . Forget abou t # 8216 ; tensely # 8217 ; and # 8216 ; grimly # 8217 ; for now. And wear # 8217 ; t acquire me started on # 8216 ; thoughtfully # 8217 ; . # 8221 ; All right, everyone knows Crichton is debris expecting a large-screen version. We will write a custom essay sample on Bring Out The Big Guns Essay Research or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Let # 8217 ; s see Amis on something all the other critics loved: Thomas Harris # 8217 ; s Hannibal. # 8220 ; I got through the thing in the terminal, with many a weary halitus, with much dropping of the caput and peal of the eyes, and with considerable fanning of the armpits. # 8221 ; He goes on to explicate exactly why such a reaction was provoked, but what was that from Amis # 8217 ; s debut, when he describes the current unsatisfactory province of unfavorable judgment? # 8220 ; The referee calmly tolerates the reaching of the new novel or slender volume, defensively settles into it, and so sees which manner it rubs him up. The right manner or the incorrect manner. The consequences of this contact will organize the information of the reappraisal # 8230 ; # 8221 ; This looks instead close to armpit-fanning as critical technique. Yet his sentence ends: # 8220 ; without any mention T o the thing behind.† Amis provides plenty of reference to the thing behind – which are in fact three big things: â€Å"talent, and the canon, and the body of knowledge we call literature†. This isn’t elitism; it’s the expression of a strong desire to get writers to raise their game and stop treating us like idiots. We know, now, that Amis knows plenty about talent, the canon, and literature. He is supremely qualified to write about writing; and this is a collection of what one would be tempted to say he does best, if this weren’t to back-handedly insult his novels, which I have no intention of doing. I’m still reminded of the character in The Information of whom Amis remarks that when he reviews a book, it stays reviewed; and there is a very pleasing aura around each review that what Amis has to say about any given work is going to be the last word on the subject. This is what every reviewer hopes is the case, and is one of the reason s why I bought this in hardback with my own money. That should give some idea of how impatient I was to get hold of it, even though I’d read about half of the contents beforehand. His defence of Philip Larkin’s writing against the attacks of those who were scandalised by the details of his life is exemplary, and necessary. His analysis of political correctness is, well, the last word on the subject. (His pokes at Beckett, however, I impertinently choose to interpret as misguided homage to a possibly familial robust English common-sense.) He is less funny, more clottedly reverential about his heroes, Bellow and Nabokov – but then that is highly understandable. Those essays are still the antithesis of almost all academic prose: readable, alert, engaging. And if you ever want to be a book reviewer, go off and get this. This is how it’s done.