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Research Paper Rough Draft. Just so you know. Your topic question has served its purpose. You will not write your topic question in your rough draft (or final draft) at all. You are still expected to write commentary. Essay: 1 CD: 2+ CM Research Paper 2 CD: 1 CM. The Thesis Statement.
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Just so you know. • Your topic question has served its purpose. You will not write your topic question in your rough draft (or final draft) at all. • You are still expected to write commentary. • Essay: 1 CD: 2+ CM • Research Paper 2 CD: 1 CM
The Thesis Statement The thesis is the most important sentence of your paper! • The one sentence answer to your topic question • The focus of your paper • Everything in your paper should support this • It goes at the end of your introduction, as always.
Writing a Good Thesis Statement • A good thesis statement tells me “why” or “how” Aye, this thesis be strong, matey. Avast! This thesis be pointless!
One more example This one is better because it tells me how. (P.S. – I’m the best!)
Structure of Research Paper Thesis It’s the same as an essay. Introduction: General to specific Body paragraphs support thesis Conclusion: Specific to general. Some number of body paragraphs Restated Thesis
Introduction Paragraph • What it does • Gets interest • Sets tone for topic, purpose, and thesis • Includes background information and definitions of historical or abstract terms • Define “pirate” • The Structure:
Body Paragraphs • Use outline to determine paragraphs • I. Unsound Educational Practices A. Cruel punishments B. Unrealistic education methods • A – Topic Sentence - By depicting schools where students are humiliated and beaten in novels like David Copperfield and Nicholas Nickleby, Dickens drew attention to cruel boarding schools in Yorkshire. • Each paragraph develops and carefully supports a single idea
Body Paragraphs • You aren’t just listing information. YOU need to comment on it. You are arguing your thesis. Remember that the entire time. • When John Turner was captured by Chinese pirates, he witnessed the torture of a man from the Chinese navy, who “was nailed to the deck through his feet with large nails, ‘then beaten with four rattans twisted together, till he vomited blood’” (Cordingly xiv). Such cruelty and brutality is absent from pirate movies, which often romanticize even the violence of piracy. • Use transitions and clarifying sentences to connect note cards to smooth piece of writing.
Only about 1/5 CDs should be quotes! Using Your Sources • “If you are directly quoting a sentence it should look like this” (Last 12). • This citation is from page 12 of a book written by Ann Last. • If you are paraphrasing or summarizing, you don’t put quotes but you do put a citation (“Paraphrasing” 3). • This citation means that this sentence is a paraphrase of something taken from page three of the article “Paraphrasing and You”. • Clearly, the article has no author. That is the only reason why you would use the title in the parenthetical citation. • You don’t need to cite the entire article name. Choose a word or two that differentiates it from other articles.
Using Your Sources • “Avoiding Plagiarism” reminds us that, if you are going to paraphrase something for longer than one sentence, you need to let your reader know. Mention the source at the beginning of the section of paraphrasing and then cite it at the end (“Avoiding”). • Since “Avoiding Plagiarism” is a website without an author, I simply put a part of the title in the parentheses. There is no page number to put. Do not put a date, either. • If you “quote a few words” from a source but then continue your thought in the same sentence, your citation still goes at the end (Neat). • This EBSCO article, written by Joe Neat, has no page numbers.
Citing Sources D • Always cite when you use sources! • If you’re citing from a source with page numbers, you do not have to repeat the source name in citations immediately following the initial citation. • Though Charles Dickens was a “cultural icon,” he was more than that (Lies 25). Dickens spent his nights flying through the streets of London, rescuing “poor orphan boys begging for a crust of bread” (93). Though his magical ability of flight is disputed by sources who argue that Dickens was a “mere mortal,” there is evidence of his supernatural power (Jealous 11). He, after all, owned a cape (Lies 88).
Conclusion • First Sentence: Restate Thesis • Summarizes main ideas of paper • Closing Statement • What’s the point • Issues a challenge • Refers to introduction D
It’s all about the thesis. By bringing American and European captured photographs of “exotic” and “wild” people and places into the parlor, the heart of Victorian America’s domestic and “civilized” world, stereoscopes reinforced what was understood as the disparity between the “civilization,” technology, and industry of the American and European cultures and the “primitive,” “savage,” and “backward” nature of other cultures, fostering a worldview that justified and allowed for imperialism and westward expansion.
Topic Sentences will point to parts of it. By bringing American and European captured photographs of “exotic” and “wild” people and places into the parlor, the heart of Victorian America’s domestic and “civilized” world, stereoscopes reinforced what was understood as the disparity between the “civilization,” technology, and industry of the American and European cultures and the “primitive,” “savage,” and “backward” nature of other cultures, fostering a worldview that justified and allowed for imperialism and westward expansion. • Almost immediately following the introduction of stereoscopes to the public at the Great Exhibition in London in 1851, stereoscopes became an essential item in Victorian households. • The stereoscope, with its ability to make two-dimensional images appear three-dimensional, very impressively suggested the technological advancement of industrial American society. • If the very tools of the stereographic experience became objects of consumption, denotations of status, and souvenirs of imperialism, the collectable images were such to an even greater degree. • I’m not telling the story or history of the stereograph. • I organize information in ways that make sense for my argument and develop my ideas clearly, in a step-by-step way.
Title: Ooooh… fancy! “To Possess the World” Stereoscopes and the American Imperial Identity • A common technique is creative, allusive, stylistic title with deliberate and concrete subtitle. • It previews what is in my paper, but also attracts attention • The first part is only in quotes because it is a quotation from an outside source, later featured in my paper.
“Facts” and then my voice too The collection of images from distant worlds encouraged Americans’ acceptance of the ideology of imperialism. On a basic level, the collectors of stereographs were claiming the images of foreign places and people as their own, displaying them to their visitors as they would display a family carte-de-viste album or a tea set. An advertisement for the “Stereoscopic View Department” of a 1908 Sears, Roebuck & Company Catalogue features an illustration of a family gathered around the parlor table using stereoscopes. On the table are two boxes, presumably used for the storage of stereographs, labeled “Europe” and “Japan” (Earle 93). By including such labels, the advertisement suggests not only that stereograph collectors have the ability to see images of distant places, but also that they have power over the images. The family in the advertisement has Europe and Japan at its fingertips.
The Introduction “The nineteenth century,” wrote William Ivins Jr., the curator of prints for the Metropolitan Museum from 1916 to 1946, “began by believing that what was reasonable was true, and it would end up by believing that what it saw a photograph of was true” (Fowles 91). When the innovation of photography was combined with the technology of the stereoscope, the effect of photographic images on the nineteenth and early twentieth century only increased. The stereoscope, also known as the telebinocular, uses stereographs, or stereo views, cards with two nearly identical photographs side by side, to give the illusion of a three-dimensional scene to its viewer. These immensely popular devices, which grew to symbolize worldliness and sophistication in their owners, played a profound role in shaping the way that nineteenth and early twentieth century Americans themselves and their world. By bringing American and European captured photographs of “exotic” and “wild” people and places into the parlor, the heart of Victorian America’s domestic and “civilized” world, stereoscopes reinforced what was understood as the disparity between the “civilization,” technology, and industry of the American and European cultures and the “primitive,” “savage,” and “backward” nature of other cultures, fostering a worldview that justified and allowed for imperialism and westward expansion.
The Conclusion Stereographs affirmed the ideology of imperialism and westward expansion by depicting other cultures and peoples as inferior to the industrialized, efficient, and “civilized” culture of America. The stereoscope, a commodity so essential to Americans’ construction of their identity as educated, civilized, and worldly, became a tool that taught Americans to envision the empire: to see clean, efficient factories replacing seemingly primitive methods of manufacture in the Philippines and to see the lively, growing country of the United States continue ushering in an age of progress throughout the West. By convincing Americans of the superiority of their culture and the lack of civilization in other cultures, the stereoscope, in a very real way, taught Americans “to possess the world” (Sobania 320).
