Watch the movie “Sorry to Bother You,” directed by Boots Riley.Paper should be 4 pages each + a list of cited works. You not only to make sure that you are not just doing a summary but also you have to come up with a topic and a research question that you are exploring throughout your paper and analyze with your original thoughts. You can think of this 4-page paper as a very short practice for thinking deeply rather than broadly. Just dig in your question directly without too much rhetorical narrative. Be specific and logical.For the citation page, you just have to write down the movie or text you're dealing with. For example, if you are just writing about "Sorry to Bother You," you just write this one down. It's not required to find external resources, but feel free to do so if you like. You can bring in the books, articles, short videos, movies, tv series that you watched or read before into conversation, but make sure that the materials from our course are the core of your analysis. Anything you bring in should make sense in relating to or supporting your analysis of the class materials.Response papers are the short written responses on the literary and cinematic materials. Students may choose one or several from the indicated materials and engage with it/them deeply. They can also engage with the films and literature from the former weeks. The response should include a paper title, a clear research question, logical and well-structured analyses, examples from the indicated materials or daily life, and a list of cited worksThe response should include a paper title, a clear research question, logical and well-structured analyses, examples from the indicated materials or daily life, and a citation page. The format should be in MLA format, double-spaced; the font should be Times New Roman, 12 points.

There are 15 topics listed. Chose [5] five to write about [20 points each]. Each should be seen as a short essay—3-4 paragraphs. Each answer should be fully developed with citations, if necessary, from outside sources, though in some cases everything you need is in the module. Locate online source material only if it helps--anything that references the work and gives you a better insight into it. The more work you put into it the better the grade. You have until Friday night midnight to complete. And please number the response so that I know which one you're answering.[1] Analyze Shakespeare's “Sonnet 73.” It begins with the line, "That time of year thou mayst in me behold." How many lines? How many stanzas? What is the rhyme scheme? How does the meter work [what is it composed of], and how does Shakespeare employ metaphor, stanza-by-stanza. Explain these five features of the sonnet carefully, in this order. [2] Compare the “romantic” and the “classical” features of western poetry [I added a page to the top of the "poetry" module called "Classical vs. Romantic Poetry"]. Identify the main features of each [from the criticism] and then answer the question: does Frost's The Road Not Taken represent more the romantic or classical mode? How? [3] Explain the differences between symbol, metaphor, and image. Be specific. There are subtle but definite differences. Go to outside sources and to the "Glossary of poetic terms" in the poetry module. Show examples from three poems. [4] Is Camus an "existentialist"? Read Sartre's lecture on existentialism [in the "Kafka" module] and apply some of its features to Camus' The Guest. I've highlighted a lot of Sartre's lecture, so it should be a bit easier to read. [5] Compare William Blake’s The Tyger and The Lamb according to theme [concept], voice [tone or attitude] and use of symbols. Write the short paper in that order: how do they compare in theme, voice, symbol. [6] Break down the four “feet” in poetry [iambs, trochees, anapests, and dactyls]. Explain how each functions and show examples. See in poetry module the "Rhythm and Versification" handout. This one would be for anyone in the class interested in music, poetry, the use of metrics, math. As you go through each, give an example [at least one]. It doesn't have to be from a poem. You can make one up. [7] Analyze Bierce's use of subjective versus objective time in Occurrence at Owl Creek Bridge. Bierce uses specific symbols to represent time itself [in an objective way]. What are these symbols specifically? As we begin to see the world through the eyes of Peyton Farquhar, we experience "subjective" time. How is that then represented? [8] I included in the "fiction" module Alan Lightman's essay A Place Where Time Stands Still [it is located in the short fiction module]. Compare Lightman's essay with Bierce's story. How does each author get at the issue of time as one experiences time?[9] I included in the Streetcar Named Desire module the Elizabeth Barrett Browning poem entitled, How Do I love Thee? This is the poem that Mitch has inscribed on his cigarette case. Read the poem [part by part] and explain, part by part, how that poem reflects Blanche's "predicament." [10] Is Kafka's Metamorphosis "existentialist"? Read Sartre's lecture on existentialism [in the "Kafka" module] and apply some of its features to the story. I've highlighted a lot of Sartre's lecture, so it should be a bit easier to read. [11] Thomas DeQuincy wrote an essay on Shakespeare's Macbeth called "On the Knocking at the Gate in Macbeth." What, essentially, is DeQuincy illustrating philosophically and why is it important? Go through DeQuincy's essay and quote a few parts to illustrate. [12] There is a criticism/essay in the poetry module called "Eliot's Journey to Faith." It discusses T.S. Eliot's life as a young poet and tries to understand the reasons why he gravitated toward Catholicism as his faith. He seemed attracted to the structures of the church, to the theater of the church, and to the traditions of the church. In Preludes Eliot describes a modern city and the people in it. Does the essay suggest to you, and in what ways, that Eliot was longing for certitude of some kind? For faith in something? Watch the Zoom recording for more on this. [13] Compare the "grandiose" and "public" voice of Walt Whitman [as evidenced in his Out of the Cradle Endlessly Rocking], his seeming desire to be seen as the national poet, the public voice, with Emily Dickinson's more intimate voice [as evidenced in any of the examples given in Martha Hale Shackford's "Atlantic" essay on Dickinson]. How are these poets different in this way? [14] In the short fiction module there is a criticism called "The Minotaur in Jorge Luis Borges The House of Asterion." Midway through the criticism there's a switch to the subject of the "Monster" in fiction. It is titled, "From earlier in the essay on monsters" and it is in blue so it's easy to find. Read this part of the criticism [it's quite interesting] on the subject of monsters in literature, identify a few key features, and discuss how the minotaur of Borges' myth is or is not a monster archetype. Is it transgressive, is it a scapegoat, does it exist to be destroyed? These are all categories of what makes something/someone monstrous. It fits these features [it meets these requirements], but is it spiritually a monster? That's where you want to bring the discussion...[15] There are three voices in Whitman’s “Out of the Cradle Endlessly Rocking” one critic referred to as "afflatus" [an inspired experience whose Latin translation is to blow on or breathe life into]. What are these three voices? Where are they located? [give examples of each], and what is Whitman saying here by the presentation of these three voices [the "afflatus"]? Remember that one of the voices can be further broken down into three separate voices in time.