*******This is an editing assignment. It needs the following adjustments to make

*******This is an editing assignment. It needs the following adjustments to make it stronger******
Begin essay with the author, the title of the work, and what it’s about. The opening sounds like you are looking around for something to say but not really finding it. Think of journalistic questions: who, what, where, when, why, how. It looks like you want to talk about stream of consciousness, but you are not saying so directly. What meaning does the stream of consciousness style lend to Woolf’s work? What about the post WWI cultures made it significant? none of your source entries in your works cited page are accurate. They are far from the mark. Stop italicizing quotations. That is inaccurate. Whoever told you to do that is very wrong. You seem to be summarizing Doko. That is the problem with secondary sources. You have to work on synthesis of multiple sources. Doko wrote the essay you are trying to write, so you are copying it though you are attributing your source. You might have selected one of the modernist characteristics I listed on the board and focused on that. If modernism emphasizes individualism, then you could examine that contrasting it with earlier works taht emphasized on social concerns. Essentially modernism defines itself against the social concerns of Victorian literature.
What makes Mrs. Dalloway a modernist text?
Explain defining characteristic of modernism as it pertains to literature (characteristics overlap with other artistic areas).
Apply this defining characteristics to Mrs. Dalloway. Explain the scene(s) and quote the text in your response. A “close reading” is an essay whereby you analyze and interpret a work without secondary sources. Here is an example of a paragraph written in the style of a close reading.
“Close Reading” Example
Joy-Hulga also wears eyeglasses.3 The young Bible salesman, using the pseudonym of Manley Pointer, connects the wearing of eyeglasses to intelligence: “‘I like girls that wear glasses,’ he said. ‘I think a lot’” (284), somehow conflating Joy-Hulga’s eyeglasses with his own intelligence. However, eyeglasses also reflect Joy-Hulga’s intelligence, as she possesses a Ph.D. in philosophy. But she is blind to reality, having knowledge only of books and abstract ideas, rather than of people and concrete objects. We learn that her eyes have “the look of someone who has achieved blindness by an act of will” (273) and that “she seldom paid any close attention to her surroundings” (287). Her intellectual superiority is the very thing that has blinded her. She proudly claims that philosophy has helped her to see clearly. She remarks to Pointer, “some of us have taken off our blindfolds and see that there’s nothing to see” (288), and she proudly proclaims, “I don’t have illusions” (287). However, her “number of degrees” has literally provided her with knowledge of “nothing,” the central focus of her philosophical studies. The problem is that she sees only “nothing.”
Notice the clear attention to documentation. Academic writing can become intense this way.
All of the evidence for the claim comes from the text itself.
Take some time to consider details in documentation like comma use and parentheticals. This type of formal analysis looks systematically at the language of the work itself and avoids theoretical approaches informed by other texts. Most teachers in literature classes will ask you to perform this kind of writing. But keep in mind that most published academic writing in literary analysis will use secondary sources, and I encourage you to explore sources. Think of such publication as the theater of academic, professional discussion in which you are beginning to participate. Published academic writing doesn’t represent the “answers” to academic questions but scholars engaging in a discussion of those questions. The more you engage this critical community the more you will see disagreement and debate. Think that your own essays are engaging in that discussion. Also, by reading secondary sources, you will encounter a lot more ideas than what we can cover in class.
This essay may look at a single theme or character in a single work, but pay close attention to comparative analysis whereby you look at two characters or themes in two different works.
All essays must be produced according to 8th edition MLA in source management and bibliographical style. Your introduction must be driven by specifics.
Eliminate the overly general first sentences. Get into your topic right away.
Develop your introduction with specific facts that provide a context for your claim.
Consider journalistic questions: who, what, where, when, why, how
Establish a problem by quoting scholars. This is what has been said about the text and this particular question.
This context must lead directly to a central question. You may literally ask this question. Your thesis naturally follows and answers that question.
The thesis must be a statement, not a question.
A reasonable person should be able to disagree with it.
It should not be an observation, a statement of common knowledge or fact.
The thesis must be narrow enough to provide in-depth discussion for a short essay of at least 2,000 words.
If you are working with a theory, this is developed in a “theory paragraph.”
This immediately follows your thesis.
It is usually the second step in your discussion.
Essentially this is a long, well-developed definition.
This is common for professional, academic writing.
This will require secondary sources. You can’t make up your own definitions.
This is followed by your body paragraphs.
Topic sentences naturally make connections between paragraphs and announce local claims upon which your thesis (overall argument) rests.
Evidence for writing about literature must come from the primary texts themselves in the form of direct and indirect quotation, summary of character actions, and descriptions of settings, etc.
So, for instance, we should see a lot of quotation from the Odyssey, if you are writing about the Odyssey.
This will probably be more than what you are used to.
Generally, the more you can quote the primary text the higher your grade—there is a limit.
Secondary sources are helpful to discuss the meaning of the quotations and summary, placing the interpretation within the context of ongoing academic discussion, but they shouldn’t replace your reliance on primary texts.
Paragraphs will usually conclude a point and prepare to move to the next paragraph.
Paragraphs must be connected in thought as links in a chain.
“And-here-is-another-point.” This is a terrible way to connect paragraphs and points in your argument. One point must lead logically into the next.
Conclusions must be as developed as your body paragraphs.
Aesthetic consistency requires your paragraphs to be more or less the same length.
Your conclusion should answer the question, “so-what?”
Discuss the implications of your argument.
Do not recap what you have argued.
If you are working with secondary sources, you may show how your argument fulfills a gap in the ongoing academic conversation.
Sentences must be accurate.
Expression must be clear and efficient.

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