Category: English

Reflect on your own online behavior. Are there any ethical considerations you actively incorporate into your online activities?
Share your insights on what constitutes ethical digital behavior, including respecting others’ privacy, avoiding cyberbullying, and being responsible for your digital footprint.
Respond to two or three of your peers and reflect on the similarities and differences in your answers. https://www.pewresearch.org/internet/2022/12/15/te… https://www.ted.com/talks/anoushka_cowan_the_impac…

I am basically arguing to the class that sportsbetting is a viable source of income. 
Based on my claim, create a defendible thesis statement that has 2 subclaims. Then for each subclaim, find evidence from two source about how it supports that subclaim. Then write commentary on how it proves the overall argument for each peice of evidence. Then repeat this for the second subclaim. When you write, format it like a presentation as if I am talking to the class. 

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You will be selecting a source from your final project research and practicing your summarizing, paraphrasing, and quoting skills. These skills will be important as you build the annotated bibliography for the final project. There are six parts to this assignment. Please label each part to make it easier for your mentor to review your work. Review this short video that walks you through an example of what the finished written assignment should look like.
Share a longer quote from your source (at least two paragraphs) and add an APA in-text citation.
Summarize this long quote and add an APA in-text citation for your summary. Remember, you are not just citing words; you are citing ideas.
Share a shorter quote from your source (just a couple of sentences) and add an APA in-text citation.
Paraphrase this shorter quote and add your APA in-text citation.
For this last part, share another short quote. Instead of just listing the quote, you should write a short lead-in for the quote or use the quote as a part of a sentence. Again, be sure to add your APA in-text citation.
Following APA guidelines, format a reference for the source you chose for this assignment.

YOU CAN ONLY USE THIS THESIS AS IT WAS APPROVED BY MY PROFESSOR : 
In “A Doll’s House”, Henrik Ibsen explores 19th-century Scandinavian gender roles through the growth of Nora’s character in her search for independence and freedom from societal constraints.
Research this topic and answer these questions
Women’s rights
• In a speech nearly 20 years after the premiere of A Doll’s House, Ibsen denied that
he had written the play to advance women’s rights. What, then, is the play’s
meaning for Ibsen? What did it mean to its first audiences? What did it mean to
the professional critics?
• To understand that more fully, research the roles played by Scandinavian women
in the latter quarter of the 19th Century (about 1874-1899.) Were women just
homemakers, or did they do some work? What kind of work? What was their
general level of education? How were they treated by men, by husbands, by
fathers? By the law? With your new knowledge, you will give your own view of
what you believe became of Nora after she left Torvald. Did Nora obtain the
freedom she sought, or end up a broken, disappointed woman?
Productions in various media
• In class, we viewed a motion picture of A Doll’s House produced by an American in
England, in 1973. The play has also been produced as a movie in many other
countries; it has been produced on TV, on radio, on audiotape and perhaps other
media. For your essay, you will research the non-live-stage productions.
• You will tell us as much as you can about these productions, the years they were
made, in what countries, in what languages, the stars, directors and writers
involved, costs of production, boxoffice results, critics’ evaluations, and,
especially, whether the basic story and/or characters were changed, and why.
You wrote a thesis & bibliography
YOUR THESIS was approved by me.
Write your research essay
WRITE AN ESSAY of at least 9 pages, plus the Works Cited page.

hello i need 2 paragraphs writen one about how or when does Wiesel creste this sense of routine and or normalcy and why is this significant consider especially how this comments on the rold of dehumanization,trama,changes in identity
should be a 2-3 chunck paragraph on based on the book night by elie wiesel
the second paragraph should be based on “what is the significance of Elie’s selective focus? what could this shiw us about the effects of trama,loss, the changes in Elie’s identity or some other important thematic topic
this should also be a 2-3 chuck paragraph based of the book night
both shoukd have MLA cited quotes within the paragraph and regualr Mla format

Prose, poetry and drama are each a sort of “node” which can uniquely engage with thematic material that often comments on similar struggles, emotions, motifs, etc. Identify a thematic element that stands out to you and trace it through one text from “Parables of Sower” from Octavia E. Butler,”Dante Alighieri’s “Inferno,” and Samuel Beckett’s “Waiting for Godot. Support your comparative analysis with at least 3 secondary sources. Each secondary source must somehow relate to a different facet of your argument. This means you can’t find 3 sources that all confirm the same thing. If your thematic continuum is heroism, you can find three sources that discuss what is heroic, but the thesis from each secondary source must be unique. Conclude your analysis by offering some explanation as to why this identified thematic element continues to arise in so many different settings, both in the physical and artistic sense of the word.

Acrisis, as the saying goes, is a terrible thing to waste, and the tech utopians have wasted little time in promoting the move to online teaching as a permanent solution to higher ed’s problems.
Tal Frankfurt, a technology consultant and contributor to Forbes magazine, proposed that the emergency replacement of traditional classrooms with virtual ones should “be viewed as a sort of ‘bypass’ button’” for the usual snail’s pace of educational change. We’re all online now, Frankfurt says — let’s stay there. After all, virtual learning is better because it enables “students to reach greater heights and not be limited by a predetermined set of circumstances.”
Nor is Frankfurt alone. In a recent op ed in The New York Times, Hans Taparia writes that online education, previously considered a “hobby,” could be the silver bullet that rescues higher ed from the financial ravages of the coronavirus pandemic.
Politicians have also climbed on board the train. Jeb Bush announced that online is “the future of learning,” and Governor Andrew Cuomo, with Bill Gates (of course) standing next to him, wondered why we need all these buildings when we have technology? “The old model” of a classroom, the governor opined, is over and done with. It’s time to “reimagine” education with computers and laptops “at the forefront.” While both deal with K-12, the proposal to replace “all these buildings, all these physical classrooms” with virtual spaces applies equally well to higher ed.
But what do students have to say about the differences between online and traditional teaching? Do they look forward to online education as “the future”?
The argument over the relative merits of online versus face-to-face education always runs into this crucial roadblock: students (presuming they pass) do not take the same course twice. Once you take Shakespeare 302, or Chem 101, or Econ 102, you move on.
But thanks to the sudden switch to online teaching in the middle of the semester, students can compare the digital with the analog versions of their classes. What’s more, since each student takes three to five (sometimes more) courses, they experienced multiple modalities of online education, from Zoom meetings to fully asynchronous courses taught via videos and podcasts. For the first time, a student can say, “I took the course both ways, and here’s what I think.” While it’s true that for many, the transition was rushed, don’t underestimate how many profs put together viable online classes that ranged from Zoom to fully synchronous (more on that term below) classes with all the bells and whistles.
To find out their responses, I asked my students to write an evaluation of their experiences with online education. While almost all are English majors, they are the definition of diverse: traditional, nontraditional, male, female, LGBTQ, first-generation college student, not first generation, single parent, person of color, different religions, foreign (one student hailed from Germany), some with a learning disability, and veterans. No doubt I’ve missed a few categories. All, however, are “digital natives,” the generation who are addicted to their phones and screens. So there is no assumed bias against or unfamiliarity with the digital world.
But for all their differences in age, gender, ethnicity, sexual orientation, citizenship and intellectual preparedness, they universally agreed on their evaluation of online learning: they hated it. There is no comparison, they said over and over again, between the two. One student said that she felt like she wasn’t getting 10 percent of the regular class. Another wrote, “I haven’t learned anything since we went online.” (For the record, I asked for and received permission to quote their responses.) “It seemed too easy,” wrote a third. “I did not feel challenged like I had been in the first half of the semester, and I felt the quality of learning had gone way down.” “I watched the lectures posted, but I wasn’t learning the material,” wrote another. All told, moving online caused “a profound sense of loss.”
Part of the problem originated in the enforced idleness caused by the pandemic. With in-person classes canceled, jobs evaporating and shelter-in-place orders, the structure by which many organized their day had disappeared, leaving many students feeling lost and adrift. As one student put, “[I] now lived in a world of uncertainty, with no clear end in sight.” Pre-pandemic, the necessity of showing up at a particular time at a particular place shaped their days and “established an environment in which my focus was tailored completely to my education.” Without the “consistency” of having to show up on, say, Tuesday and Thursday, 11 o’clock, many reported that it was easy to let classes slide and not take them as seriously as before. Plus, for some, there are the distractions of having to live at home, sharing space and computer time with parents and siblings, not to forget pets.
Taking online classes also means that the distractions of the web are right before their eyes. “The major benefit of in-class learning is that the classroom leaves out distractions,” writes one student, but now, “I have the biggest source of gaming, shopping and socializing right in my face.”
However, there is a more profound reason for their dislike of online learning, and ironically, it is online education’s chief selling point.
The major advantage of online learning is asynchronicity, or, “anytime, anywhere learning.”
Lectures do not take place at a specified time, but are recorded as videos or podcasts. Assignments are done on a computer, often graded by a computer. Not being tied to a classroom also means no limitations on enrollment. Class size is no longer limited by room size but can grow to accommodate any number of students.
What this means in practice is that the student takes the class alone. There is no immediate interaction between the professor and the students, no immediate interaction among the students. It’s just a student sitting in front of a screen, and that’s what my students disliked the most: “we basically have to teach ourselves. It’s like paying tuition to watch YouTube videos.”
More than one complained they were not getting their money’s worth: “I do not pay the hefty tuition for online classes”; “I feel for all the students paying thousands and thousands of dollars to attend SDSU when in reality they are stuck behind a computer screen.” A third was more specific: a prerecorded video “is by far the least efficient and beneficial [mode of learning]. Prerecorded videos give students no room to ask questions or engage in class discussion.”
Ironically, students reaffirmed Plato’s criticism of writing over face-to-face discussion. If you ask an inanimate object, in this case, a piece of writing or a painting, a question, Socrates says, you don’t get an answer. Instead, it goes on “telling you just the same thing forever.” Ask a video a question, or a podcast, and you will not get a response. You can’t engage it in dialogue, and as Socrates says, it’s in dialogue — teasing out of ideas, challenging them, argument and counterargument — that genuine education happens.
That key point gets reiterated in every response: students missed human interaction. The central difference is that during a regular semester, “the lessons are in person, and not on a screen. This is important because it helps me and other people pay attention when the teacher is in the same room as us. You get more out of what they are saying when you can see their body language, and it’s more a personal experience.”
The transition from face-to-face to online removed the opportunity to learn “from other students,” and breaking into smaller groups or commenting on each other’s writing was no substitute for the real thing. In a traditional classroom, “there is this level of intimacy that just cannot develop in an online setting. The college experience is truly about making human connections. Schools, one student insightfully noted, “are like small towns. There is so much more than just classrooms, and to have classes go online, that takes away so much from the student experience.”
The farther a class got from face-to-face, the less students liked it, and the less they got out of it. Conversely, the closer a class got to approximating the traditional classroom, the better. Students preferred Zoom classes (for all their drawbacks) for two reasons.
First, turning classes into Zoom meetings that started and ended at the same time as the regular class helped “restore some type of balance and structure” to their lives. One student said that she “was grateful for the normalcy that the recurring class meetings” gave her.
But more profoundly, Zoom restored, if in a lesser form, the conversations, the back-and-forth, the human interactions of the traditional classroom. Because students can talk to each other and the professor in real time, “it feels more personal. I found myself more willing to answer and participate.” This student summed it up best:
Some of the best courses I have taken during my time in college have been the ones that are small, and where the professor and students develop a sense of trust with one another. This trust can only be attained by person-to-person contact. There is this level of intimacy that just cannot develop in an online setting. The college experience is truly about making human connections.
God knows, Zoom is not perfect. The sound can be terrible, and there are serious privacy issues. But for all its problems, Zoom helps restore the “human connections” missing from virtual classes, which is why several students said that everyone’s camera should be on during the session. The point is not just to hear, but to see, each other.
Many teachers fear that when the pandemic recedes and normality returns, administrators will try to keep as many classes online as they can. After all, as Bush and Cuomo say, online is supposed to be the future.
But the opposite will likely happen, because most students don’t like online classes. Having gone virtual once, and experienced different modalities, there is no desire, no groundswell, to make the change permanent. If anything, both students and faculty want to get back to the traditional classroom as quickly as possible, now that they have experienced both. To be sure, online teaching has its place, especially for students who could not otherwise attend college, and given the health risks, it’s how we need to teach until there’s either a cure or a vaccine for COVID-19.
But online learning is not the future. Never was. Never will be. It’s just not what students want.

Personal Health Narrative Essay Assignment
For this first essay, you will be telling a true story about anything related to food and/or health in your own life.  Your purpose will be to create a narrative about one event or multiple related events that have in some way significantly affected you.  In so doing, you intend to both engage and instruct your audience.  That audience includes me and any of your family members or friends with whom you might later share this.
Your essay should do each of the following:
evoke genuine, heartfelt emotions from the reader
present a vivid depiction of real people in a real world;
create significant and intriguing uncertainty;
speak with the voice of a genuinely human and interesting author;
show the significance of the events being narrated, but without being preachy   or trite.
Throughout your essay, you yourself should be the main participant in the narrative.  As much as other people may play a part in the story, no one but you should be the ultimate focus of attention here.
The subject matter of your essay does not need to be obviously exciting and sensational, but it does need to be focused on your experience with food and/or your health.  
Ultimately, attention to detail, good narrative pacing, and honesty will distinguish a mediocre essay from a really good one.  Read Gary Shteyngart’s “Sixty-Nine Cents” (posted below and on Week One Readings and Resources) and view it as a model of the type of narrative you might write for this assignment.

1. Explain the brief history of feminist criticism that Joyce Karpay defines. 
2. Explain what Karpay says about how feminist criticism is intended to help men and women, not just women.  What does Karpay say about how men can benefit from feminist criticism?
3. Explain what Karpay says about how the French feminists added to our understanding of female writing. According to French feminism, how does female writing differ from male writing? How have male standards for language prevented women from being able to freely express themselves? 
4. Explain what Karpay says about how feminist scholars have expanded the value and importance of female authors like Kate Chopin. 
5. Explain what Karpay says about Kate Chopin’s “The Story of an Hour.”
Part II: Watch and write a summary of the documentary, One Woman, One Vote. (Note: U.S. copyright applies so you can only watch the documentary by being logged into this Moodle class.) Your summary should answer the questions listed below. You may also just answer each question individually. You do not need to rewrite the question. 
1. According to the documentary why were women being denied the right to vote in America?
2. Who were Elizabeth Cady Stanton and Susan B. Anthony? Discuss each one’s different approach to advancing the women’s suffrage movement in America. 
3. Explain some of the specific ways women were being treated unfairly in America and how the suffrage movement sought to change that treatment.
4. According to the documentary, what led to the passage in 1920 of the 19th Amendment to the U.S. Constitution guaranteeing women the right to vote? What made men change their views to believe women should be granted the right to vote? 
5. What factual information from the documentary can help explain the historical significance of Kate Chopin’s “The Story of an Hour,” which was originally published in 1894? Connect facts from the documentary One Woman, One Vote, about the women’s suffrage movement and the way women were treated in the 1890s to specific details from “The Story of an Hour.”
Important guidelines for both Part I and Part II:
With Part I and Part II, before you start to summarize each source, you need to clearly name the source by full title and full name of the author and write a topic sentence that organizes the summary. 
Example for Part I: In her brief history and overview of “Feminist Criticism,” Joyce Karpay helps show the importance of authors like Kate Chopin and stories like “The Story of an Hour.” 
Example for Part II: in the documentary, One Woman, One Vote, the narrator, Susan Sarandon, describes the struggle of American women to change society to recognize women’s right to vote and be treated with fairness and respect.
(Remember, do not just copy or plagiarize my examples. Use them as a guide to help you to write your own topic sentences. Note: movie titles are italicized and chapter titles are put in quotation marks.)
Write complete sentences and paragraphs. Do NOT just list terms or write fragmented notes. Keep in mind that this is an advanced college English class, so use proper grammar, spelling, capitalization, and punctuation. For help with grammar, see:  https://www.grammarly.com/blog/category/handbook/
Remember to properly refer to the author by last name when referencing the source. When first mentioned, write the full name of an author; thereafter, write the last name. Use phrases like, “According to Karpay” and “Sarandon describes.”  See: https://tinyurl.com/y69ps8tr
Provide proper in-text parenthetical citations per MLA guidelines for all quoted and paraphrased information from the textbook (Do NOT plagiarize.) See MLA in-text guidelines: https://tinyurl.com/y673xs3c  
Do not be too general or short. Be sure to support your answers with evidence and details from the source. Pretend you are explaining the source to someone who has not read it to be sure you include enough details so that someone who has not read the source understands what you are talking about. Write objectively and analytically. See tips for writing about literature: https://tinyurl.com/uschs47b 
Be sure to summarize and explain the source in your own words and be careful not to rely too heavily on quoting the source. See tips for knowing when to quote: https://advice.writing.utoronto.ca/using-sources/quotations/
After you complete both parts, be sure to include the Works Cited citations at the end to properly credit the sources you used. List sources alphabetically.