review exercise:the epic of gilgamesh

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IF you dont have the way to access the book, The Norton Anthology World Literature Volume A, YOU WILL NOT ABLE TO DO THIS.

PLEASE TRY TO FIND THE BOOK ONLINE BEFORE ACCEPTING THIS QUESTION.

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Here is the detail:

1. Who are Gilgamesh’s parents? Directly citing the text, explain how the king of Uruk’s

lineage defines his complicated attitudes toward masculinity and kingship. [minimum 150 words,

not including citations]

2. Describe the creation of Enkidu. Based on your description, in what ways is he similar to

Gilgamesh? In which highly significant ways is he different? [minimum 200 words]

3. CLOSED BOOK: Using only your best memory of the text, summarize EITHER the

encounter of Gilgamesh and Enkidu with Humbaba, the Guardian of the Cedar Forest OR

their battle with The Bull of Heaven. [minimum 200 words]

4. I don’t know anything about The Epic of Gilgamesh: What in the hell is an “Old-Man-

Becomes-Young-Again-Man”? Directly citing a few lines from earlier in the text (select

passages in Tablets 2, 5, and 10 come highly recommended), relate your explanation to a broader

theme of The Epic of Gilgamesh. [minimum 200 words, not including citations]

Unformatted Attachment Preview

ENG 231: WORLD LITERATURE I REVIEW EXERCISE GENERAL INSTRUCTIONS Closely follow the review prompts below and, observing at least the minimum requirements for length and content... —Compose your responses in paragraph form in an MLA-formatted document. Do not reproduce, in whole or in part, the individual review prompts in your final submission; —Number your responses flush with the left margin using Arabic numerals (1, 2, 3…) and hit a single hard return between responses. This marks a notable exception from the standard MLAbased formatting we have discussed to date; — ‘Save As’ a Word file (if it isn’t a native .doc or .docx) with a filename that includes your LAST NAME, FIRST INITIAL, and the ASSIGNMENT CODE. The assignment code appears below and just about anywhere else assignment-related you might look. A student named Thorvald Hammerstein would do it like so: HAMMERSTEIN T RE1.doc Though it is fairly obvious, none of us are Thorvald Hammerstein. The file extension (.docx or .doc) should automatically populate under default conditions. If it does not, verify under file options/information that file extensions are not hidden before attempting an upload. Typing in one’s own file extensions will prove both silly and ineffective; —Upload your MLA-formatted Word document to WebCampus via the ‘File Upload’ tab under the ‘Submit Assignment’ link. Though the options will present themselves, do not upload from Dropbox or Google Drive. If you should happen to upload an incorrect or incomplete document, use the ‘Resubmit Assignment’ function to upload the correct(ed) file prior to the deadline. *** REVIEW EXERCISE ONE (RE1): The Epic of Gilgamesh You may consider all review exercise items open-book unless specifically stated otherwise: Use your primary text, course formatting guide, and even the RE scoring rubric if you find it helpful. That said, the use of secondary sources (i.e.: anything that does not originate directly from The Epic of Gilgamesh as presented in the NAOWL, 4E) or our in-class discussions is not permitted under any circumstances. Unlike the multiple-choice items on the reading quizzes, which typically ask you to recall what happened in the narrative, these short-essay review items are more interested in why you think those events occurred and how you comprehend their significance within the text as a whole. If the prompt does not explicitly request a narrative summary, do not summarize or paraphrase at any point in your response. Some prompts require citation support from the primary text. Responses to these items that do not incorporate correct and effective MLA citations (including a Works Cited page paginated with the document) will not be scored, resulting an incomplete submission. Where direct citation seems like a good idea but is not explicitly required, it couldn’t hurt. This may incite boos, but direct citations, paraphrases, and WC entries are not included in required minimum word counts. Response prompts appear on the following page. 1. Who are Gilgamesh’s parents? Directly citing the text, explain how the king of Uruk’s lineage defines his complicated attitudes toward masculinity and kingship. [minimum 150 words, not including citations] 2. Describe the creation of Enkidu. Based on your description, in what ways is he similar to Gilgamesh? In which highly significant ways is he different? [minimum 200 words] 3. CLOSED BOOK: Using only your best memory of the text, summarize EITHER the encounter of Gilgamesh and Enkidu with Humbaba, the Guardian of the Cedar Forest OR their battle with The Bull of Heaven. [minimum 200 words] 4. I don’t know anything about The Epic of Gilgamesh: What in the hell is an “Old-ManBecomes-Young-Again-Man”? Directly citing a few lines from earlier in the text (select passages in Tablets 2, 5, and 10 come highly recommended), relate your explanation to a broader theme of The Epic of Gilgamesh. [minimum 200 words, not including citations] Thorvald Hammerstein Dr. Hollifield ENG 231.10XX 15 Dec 2018 Formatting Essays in the MLA Style Much of what follows may seem obvious. Nonetheless, the number of students who complete the composition sequence without retaining (or sufficiently valuing) these skills is staggering. If your formal, written submissions for this course resemble this document and meet or exceed requirements for length and content, I will review and grade them on their own terms. If your papers do not meet the specified requirements, you will lose points otherwise built in to the grade. I formatted this document with 1.00” margins in 12-point Times New Roman. Because this TrueType font is standard-issue for current word-processing programs and favored by the MLA style manual, I have chosen it as the official typeface of ENG 231. Setting it as your body text and page header defaults now will prevent the realization—after the fact—that your uploaded submission is incorrectly formatted. Wider margins are undesirable unless the document is destined to be printed, bound, and published. One full page in this format generally runs from 325 to 350 words, regardless of the word processing program it has been composed in. The text of review exercises and other papers, from that Document Heading (Your Name, Instructor Name, Course & Section and Submission Date) through the body text to the Works Cited page should be double-spaced, but there should be no extra spaces or text breaks between paragraphs. If these appear in the document in spite of your intentions, adjust paragraph spacing (distinct from line spacing) to 0pt. Hammerstein 2 Often set as a default, Orphan/Widow repagination tries to keep lines together it thinks belong together, often leaving a large gap at the bottom of the page. In Word for Mac, you can deactivate repagination by clicking ‘Select All,’ then choosing ‘Format/Paragraph.’ Click off the check-box for ‘Repagination’ and you will have one less formatting issue to worry about. In the Windows version, this option is located in ‘File/Page Setup.’ The vast array of secondary features in recent Word processing programs lead writers to believe that they need only write stuff and their computer will magically sort it out. The average computer knows only what it is taught. If a word is underrepresented in its lexicon, your options are hardly limited to the ineffective (and sometimes inappropriate) suggestions in the drop-down menu. When in doubt, check the word or spelling against the Oxford English Dictionary (OED), accessible online via the UNLV Library System’s vast selection of databases. Spell-check will not alert you to a homonym typed in place of the word you intended; grammar checks might detect incorrect usage, but they are incapable of revising anything on their own. These features are most useful after you have written, revised and proofed every sentence of every paragraph to the best of your ability. The machine might then uncover something you overlooked. In the upper right corner of this page, you will notice a Page Header, not to be confused with the Document Heading mentioned earlier. Consisting only of your last name, a single space, and the “inserted” page number, the Header is required on all pages except the first—where it is somewhat redundant—and should appear at 0.50” within the ‘Header’ space of your document. The Header is always right-justified, and its font and point size should match the document. In most word processing programs, Header and Footer access is available under ‘View’ or ‘Insert.’ Select ‘Different First Page’ (under ‘Page Setup’ in the Windows version of Word) to eliminate the redundant header on the first page. Hammerstein 3 The precise formats for MLA Works Cited entries vary depending on the sources themselves. Though the primary basis of in-text citation is typically the author’s surname, MLA provides certain authors and works (notably Shakespeare, Chaucer, and the Bible) specific abbreviations for that purpose. While these official title abbreviations appear on the syllabus, writers may not create their own abbreviations for works which lack them, such as The Thousand and One Nights. To illustrate a few primary-text citation possibilities, I have drawn examples from Canto 3 of Inferno as it appears in The Norton Anthology of World Literature. Instructions are set in italics only to set them apart from examples: EXAMPLE: Dante inscribed “Abandon all hope ye who enter here” on the gate of Hell. So must any intelligent being while navigating an aggregated newsfeed these days (Inferno 3.9). Here the parenthetical citation accounts for the title of the work (required when you refer to multiple works in an essay, not required when the title is implicit), Canto (3) and the line or lines referred to (9). When line numbers are provided, always use them as the basis for in-text citations; page numbers are not a substitute for line numbers, nor should they appear in the same parenthetical reference with them. EXAMPLE: In Inferno, Dante the pilgrim finds an echo of his personal crisis inscribed upon the Gate of Hell, “ABANDON ALL HOPE YE WHO ENTER HERE” (3.9). In this example, I have duplicated the all-capitals typeface of of the primary text. While the first example was more of a casual appeal to the reader’s knowledge of Dante, this example uses Dante’s words to support an idea about the text they come from. Accuracy is key when citing any text (literary or otherwise); the more accurately you present the text in a review response, the more likely it will have the desired impact on the reader. As a rule, the punctuation of your sentence overrides the terminal punctuation of any direct citation you incorporate into them. Hammerstein 4 Note in both examples how the terminal punctuation always follows the parenthetical citation. EXAMPLE: When using three or more lines of text (especially text set in verse), it is ideal to present the citation in block format. Block quotes are double indented and double-spaced, do not add quotation marks, and closely replicate the format of the primary text including punctuation: To situate his inner turmoil within the spiritual conflicts of eternity, Dante the pilgrim lingers at the Gate of Hell: ONLY THOSE ELEMENTS TIME CANNOT WEAR WERE MADE BEFORE ME, AND BEYOND TIME I STAND. ABANDON ALL HOPE YE WHO ENTER HERE. These mysteries I read cut into stone above a gate. And turning I said: “Master, what is the meaning of his harsh inscription.” (3.7-12) Having found the guide he has been seeking since the opening lines, the pilgrim defers to Virgil, his poetic mentor and Classical authority, for an explanation. This strategy proves useful in navigating Hell and ensures Dante’s survival throughout the increasingly hazardous descent. Note that the parentheses contain the range of lines, not merely the start or end line of the passage. Again, lines 7 through 9 appear in all caps only because that is how they appear in the primary text. A word of advice: Only use long quotes when your essay requires them to make its point and you are prepared to deal with every word of them in some way or other. There are techniques for trimming long quotations down, so please do not use long passages merely to fill space. When you quote two or three lines of poetry unblocked, separate the lines with slashes, like so: Hammerstein 5 EXAMPLE: Not yet able to puzzle the inscription out himself, the pilgrim admits to Virgil and reader alike, “These mysteries I read cut into stone / above a gate. And turning I said: ‘Master, / what is the meaning of his harsh inscription?’” (3.10-12). It is rarely necessary to quote a long passage in its entirety at any point in a short paper or short-essay response. Sometimes a citation can be so unwieldy as to overwhelm the discussion it is intended to support. I recommend breaking such passages down in your initial draft, dealing with each line or idea on its own terms. This approach will begin to uncover layers of meaning that might not be readily apparent when considering the passage as a whole. Refer to the Works Cited page at the end of this document for the citation that should accompany the usage of any of the above entries in your review exercise, Adaptation essay, or final exam. While this fact has surprised many a student, a Works Cited entry for Inferno by Dante Alighieri cannot stand in for other works on the syllabus, such as The Odyssey or Othello. Click an assignment title to access its ‘Submit Assignment’ link (green button, upper right). Papers are officially due not later than 2359 on their respective due dates and will only be accepted in a current MS Word format (.docx or .doc). Load directly from your hard drive or other storage device; do not attempt to load files from the Dropbox or Google Drive tabs. Should a SafeAssign or TurnItIn prompt appear, be sure to click the appropriate box before uploading your document. In case of an erroneous or incomplete submission, students may request one resubmission per assignment prior to the late submission deadline. That said, more than three such requests from a given student this semester may result in denial of this accommodation. Hammerstein 6 Works Cited Alighieri, Dante. Inferno. Trans. John Ciardi. The Norton Anthology of World Literature, Vol B. Ed. Martin Puchner et al. 4th ed., W.W. Norton, 2018, pp. 394-548. REVIEW EXERCISE SCORING RUBRIC, FALL 2018 To make the most sense of your scores, carefully review your review exercises alongside the checklists and rubric below. Should you need further clarification, consult our course formatting guide. Give this review process your full attention, correct what is within your powers to correct, and contact me with any unanswered questions. 24-25: 21-23: 18-20: 15-17: <15: QUANTIFICATIONS OF QUALITY Exceeds expectations for this Review Exercise Meets expectations, but could always improve (no more than two minor issues) Expectations not met (one major issue backed by one or more minor issues) Significant issues throughout diminish your credibility (two major, three or more minor issues) Seems oblivious to Review Exercise prompts and formatting guidelines * * * [D] DOCUMENT FORMATTING (Checklist) Mostly MINOR, these formatting issues will become MAJOR if not corrected between review exercises. Check these points against your document:  a. Does your Document Heading include Your Name, Instructor Name, Course/Section, and Submission Date?  b. Are your MLA Page Headers (your last name and sequential page number) positioned in the Header space, justified against the Right margin, and set to 12pt Times New Roman to match your body text?  c. Are your Margins set to 1.00” all around, including indents?  d. Is your Paragraph Spacing (the space between paragraphs rather than lines) set to 0pt throughout?  e. Is your Line Spacing set to double throughout, including block quotes and WC entries?  f. Is your text set in 12pt Times New Roman throughout, including page headers and WC entries?  g. Are your Title and Works Cited heading centered, with all words but articles and conjunctions capitalized?  h. Have you italicized (or underlined) the titles of major works wherever they appear? This includes MLAabbreviated titles; only the titles of shorter works (poems, short stories, chapter titles) are set in quotes.  i. Are your indents/tabs set to an appropriate width? (0.30”-0.50” ideal)  j. Is there excess white space at the bottom of page, an extra blank page, or dangling text? Any of these could be a product of Orphan/Widow Repagination * * * [C] IN-TEXT CITATIONS AND MLA WORKS CITED PAGE (Checklist) There really is no wiggle room when it comes to academic citation,—a writer has either nailed the details or not.  a. Are your in-text, parenthetical references complete and correct? (i.e.: Inf. 2.89-95)  b. Do your in-text citations accurately reproduce the text being cited?  c. Is your Works Cited page correctly formatted and paginated with your review exercise?  d. Are your WC entries complete and correct?  e. Have you consulted or cited inappropriate or unauthorized source materials?  f. Do your citations (where required) illuminate your ideas or simply recount the narrative?  g. Have you directly cited the review text where required?  h. Have you presented your citations in the most effective format? (i.e.: in-line, line-separated, or block-quoted)  i. Have you effectively contextualized your citations, including transitions, punctuation, spacing, and length? CONTINUED… OTHER CONSIDERATIONS [G] GRAMMAR AND MECHANICS Overall scores below 20 were inspired in part by some combination of the following a. b. c. d. e. f. g. h. i. j. Proofing errors/inconsistencies (spelling, punctuation, plural vs. poss., capitalization, character spacing, cut and paste) Contains overlong/undermediated or short, underdeveloped sentences/paragraphs Sentence-level issues: Variety, fragments, run-ons, comma splices Passive voice and/or passive phrasing Issues of agreement, tone, and/or parallelism Syntax convoluted, difficult, or confusing Phrasing sometimes awkward or ineffective Some ineffective word choices and/or homonym usage Verb choices/tenses inconsistent or ineffective Incorrect usage of commas, hyphens, dashes, semicolons and/or colons * * * [F] FOCUS AND THOUGHTFULNESS Overall scores of 22 or higher resulted from at least two of the following a. b. c. Strong sense of focus and purpose Good sense of your specific reading/point of view Good sense of and interaction with the review text(s) Lower scores likely demonstrated one or more of the following Focus issues: d. e. f. g. h. i. Response(s) use terminology or apply concepts not discussed in class or introduced in course materials Response(s) deploy inappropriate or incorrect literary terminology Response(s) present underdeveloped or under-informed readings of the review text(s) Reductive: Tends to generalize where specifics or more detail are called for Superficial/perfunctory statements or observations Spelling of proper names or key terms differs from that of the review text * * * [S] STYLE, SUBSTANCE, AND CLARITY Overall scores below 20 suggest at least one of the following issues: a. b. c. d. e. f. g. h. Weak, uncertain, or inconsistent authorial voice Inappropriate terms of address (forms of second person, inconsistent first person) Authorial voice is excessively casual or rambling, including the use of contractions Authorial voice is excessively formal, awkward or inscrutable Style/grammar sometimes obscures meaning: If your reader has to wonder what your point is, you haven’t made your point Audience’s familiarity with the review text ignored Short of length requirements for individual prompts or assignment, or close enough to raise doubt Over-written or under-edited Overall scores below 15 indicate one or more of the following: i. “Anachronism”—at least one response deploys concepts or references material outside the cultural boundaries of the primary text j. Approaches the text from an inappropriate or ineffective point of view k. Underdeveloped in thought or execution l. File format unacceptable OR incorrect/misleading filename m. 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Tutor Answer

Juniper
School: Cornell University

Hello buddy, kindly find your paper attached below. Let me know what you think and feel free to ask for edits. Thank you

Surname 1

Name
Professor
Course
Date
The Epic of Gilgamesh
1. Who are Gilgamesh’s parents? Directly citing the text, explain how the king of Uruk’s
lineage defines his complicated attitudes toward masculinity and kingship.
The father of Gilgamesh is said to be Luglbanda, the hero of Sumerian’s poems who is
said to be the king of Uruk. His father has been featured in two Sumerians poems which portray
the magical abilities that he possessed. The mother of Gilgamesh is said to be Ninsun who was
generally known as lady wild-cow Ninsun. Therefore, the parents of Gilgamesh are Lugulbanda
(father) who was considered as minor god and Ninsun (mother) who was viewed as a minor
goddess because of her wisdom (George p.186). Gilgamesh’s father ruled in Uruk kingship
between 2800 and 2500 BC although he was consecrated.
The king of Uruk’s lineage defines his complicated attitudes toward masculinity and
kingship as a construct with attributes that depict power and heroism of his lineage. In this case,
masculinity and kingship is associated with men like Gilgamesh and Enkidu. For instance, in
tablet 3, page 23 it is evident that Gilgamesh governed Uruk kingdom by use of instructions
whenever he was absent. The kings like Gilgamesh use the power of masculinity and kingship in
battles, and this is evident in tablet 3 where he says to Ninsun (Goddess), “I shall tread, O
Ninsun, bold as I am, the distant path to the home of Humbaba, I shall face the battle”( Gorge p.

Surname 2
23). To some extent, the masculinity and kingship in Uruok’s lineage mean that men have more
powers than females in the kingdom, something that led to feminist submission in Uruk
Kingdom. Masculini...

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Anonymous
Good stuff. Would use again.

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