Brainstorm
Services

EDUCATIONAL
MATERIALS


West Chester University

Spring 2006 and Fall 2005

West Chester University

Fall 2004and
Spring 2005

Spring 2003

Fall 2002

Spring 2002

Fall 2001

 

 

 

Home

Contact

Course Syllabi and Announcements
  LIT 165 Syllabus
  LIT 165 Announcements and Assignments
  WRT 120 Syllabus
  WRT 120 Announcements and Assignments

Notebook for Topics in Literature: Imaginary Worlds (Spring 2008)
  A Reading of THE TEMPEST

Notebook for Topics in Literature: Rites of Passage (Spring 2006)
  Goals of the Course
  Fundamental Questions about Literature
  Valuing Literature
  Critical Thinking and Reading Literature
  Critical Approaches to Literature
  Literature as ART
  Ambiguity
  Approaching the Art of Fiction
  Defining the Short Story
  Evaluating Short Fiction
  Craft of Fiction: PLOT
  Craft of Fiction: CHARACTER
  Small Group Exercise
  ARABY by James Joyce
  WHERE ARE YOU GOING, WHERE HAVE YOU BEEN? by Joyce Carol Oates
  Our RITES OF PASSAGE Theme
  A note about GIRL
  POE and the art of STORY OF A HOUR
  THE YELLOW WALLPAPER
  YOUNG MAN ON SIXTH AVENUE
  Notes on Innovative Fiction
  Assignment Sheet for Paper #1
  Fiction and Ambiguity - Your Questions
  Writing Workshop - Short Fiction
  Poetry Journal Project Assignment Sheet
  LITERARY SYNTHESIS PROJECT
  Defining Poetry
  Reading Poetry
  The Craft of Poetry
  Drama and Tragedy
  Study Questions: DEATH OF A SALESMAN

Notebook for Effective Writing I (Spring 2006)
  Paper #4 Assignment Sheet
  Critical Thinking and Commentary
  Casebook: Evaluating Sources Worksheet
  Selecting Information
  Evaluating Arguments
  CASEBOOK PROJECT Assignment Sheet
  Approaching Persuasive Writing
  Topic Development - Profile Essay
  Generating Ideas for the Profile Essay
  Paper #2 Assignment Sheet
  Profile Exercise
  Analyzing THE FIVE BEDROOM, SIX FIGURE ROOTLESS LIFE
  Objective Writing: Selected Readings
  Writing Workshop: Paper #1
  Expressive Writing in the NYTimes
  Writing Effective Introductions and Conclusions
  Paper #1: IDENTITY
  Expressive Writing
  Open Letter Exercise and Examples
  EMERSON on Individuality vs. Conformity
  Literature related to IDENTITY
  Understanding the 'Rhetorical Situation'

Go Exploring
  Weblog for WRT 120
  Writing Assistance on the Web
  Blackboard at WCU
  WCU Homepage
  WCU's Francis Harvey Green Library

Notebook for Topics in Literature: Imaginary Worlds (Fall 2005)
  One Last Look at Imaginary Worlds
  Franz Kafka's BEFORE THE LAW
  Analyzing WAITING FOR GODOT
  Approaching WAITING FOR GODOT
  Paper #3: Assignment Sheet
  Paper #4: Independent Project
  The Problem of Stability in BRAVE NEW WORLD
  UTOPIA/DYSTOPIA Links
  Analyzing Huxley's BRAVE NEW WORLD
  Defining Utopia
  Embarking on Huxley's BRAVE NEW WORLD
  A Reading of Shakespeare's THE TEMPEST
  From today's news (11/3/05)
  Assignment Sheet for Paper #2
  Goodbye to Dante's Imaginary World
  Stepping Through Dante's Inferno: Cantos 10-34
  Stepping Through Dante's Inferno: Cantos 1-10
  INFERNO: Questions/Analysis: Cantos 32-34
  INFERNO: Questions/Analysis: Cantos 18-31
  INFERNO: Questions for Analysis: Cantos 12-17
  INFERNO: Structure
  INFERNO: Questions for Analysis: Cantos 1-5
  INFERNO: Analyzing Canto 1
  Relating to Dante's Inferno
  Approaching Dante's DIVINE COMEDY
  A Little Help with Dante's INFERNO
  Assignment Sheet for Paper #1
  Notes on LEAF BY NIGGLE
  Responses to LEAF BY NIGGLE
  ON FAIRY STORIES: An Essay by Tolkien
  Notes on Axolotl
  Reading Ovid's Tales
  From Myth to Literature: Approaching Ovid's Tales
  Notes on THE EYE OF THE GIANT
  Functions of the Genesis Tales
  Analyzing Mythic Tales
  Defining Mythology
  Filtering the Introduction to FANTASTIC WORLDS
  Commentary on LA BELLE DAME SANS MERCI by Keats
  Commentary on DARKNESS by Byron
  Handout: Imagination Poems Set
  What is Imagination?
  Our Course Theme: Imaginary Worlds
  LIT 165 Assignments: Fall 2005
  LIT 165 Announcements: Fall 2005
  Imaginary Worlds: Course Syllabus

Notebook for Effective Writing I (Fall 2005)
  Paper #4: Independent Thinking/Reading/Writing
  Casebook Preparation Checklist
  Casebook Assignment Schedule
  Evaluating Sources for the Casebook
  Casebook Project Assignment Sheet
  Notes on Rational Argument
  Argument
  Assignment Sheet: Objective Writing
  Reviewing Elements of the Profile Essay
  Writing the Profile Essay
  Readings: Objective Writing
  Assignment Sheet: Expressive Writing
  Rubric for Evaluation of Writing
  About SKIN DEEP
  Emerson on Individuality vs. Conformity
  Mind-map: Identity
  Understanding the 'Rhetorical Situation'
  Assignments Page
  Announcements Page
  WRT 120 Course Syllabus for Fall 2005

ENG Q20: Basic Writing

Go Exploring
  Weblog for WRT 120
  Writing Assistance on the Web
  Blackboard at WCU
  WCU Homepage
  WCU's Francis Harvey Green Library

 
Identifying Elements of the Profile Essay
    
Kathy Link, “The Five Bedroom, Six Figure Rootless Life”             Pastor Ted, “Soldiers of Christ I

Another look at the expressive and objective aims of the “profile” essay:
  • Content = observation. Profile essays closely observe their subject.  The content of a profile essay includes factual information the writer has observed  as well as the description that follows from those observations.  The goal is to help readers get both a deeper understanding of the subject and a vivid impression of the writer’s attitude towards the subject.
  • Three kinds of observations.  In a profile essay, the writer’s observations can be of three kinds: it may be freshly acquired, called up from memory, or acquired through some form of research.  Research is usually associated with  seeking information rather than impressions, yet once you’ve acquired the information you were seeking and you’ve had a chance to digest it all, it’s bound to make some kind of impression on you—a profile writer will make this impression clear to readers as part of the presentation (the “dominant impression”).  
  • Observation = two kinds of description.  When it comes time to share your observations (however you’ve acquired them), you can use description both objectively and subjectively, or in combination, to put your subject before readers in a vivid, engaging way.
Putting it all together:  The facts, explanations, analysis, and interpretation you provide about your subject all have the effect of informing your readers about your subject—this is the objective aim, or purpose, of the profile.  The subjective, impressionistic ways you choose to describe your observations, your orchestration of details and the kind of language you use to create a positive or negative feeling about your subject, all have the effect of making your own attitude towards your subject vivid—this is the expressive aim of the profile essay.  In the end, readers should come away knowing about your subject and about your impression of your subject.

Working together in groups, closely analyze the article “The Five Bedroom, Six Figure Rootless Life” by Peter Kilborn to identify the expressive and objective elements of the profile essay discussed above.
  1. First, look closely at the writer’s observations.  There should be two kinds: factual information and description. Find two or three instances of each type of content.
  2. Look closely at the descriptive material to figure out how the writer is communicating his impressions of the Link lifestyle, the Link family, or Link’s neighborhood.  What are the descriptive words used?  How do they contribute to your understanding of the writer’s attitude toward his subject?  Analyze the descriptive material even further (click here).
  3. Put into words the overall dominant impression that Kilborn conveys of the Link family.  What is his attitude toward the Links?  Does his impression influence your impression?
  4. Discuss whether you thinking this is an effective piece of writing?  List your reasons why or why not.
Assignment for Friday 2/24:  (1) Read “Soldiers of Christ I” and prepare to work with it in class in  similar way that we worked with today’s article.  (2) Pick a spot anywhere on campus and spend 15-30 minutes (or more) closely observing. List as many specific observations as you can about the place, the people, the atmosphere.  Bring your list to class on Friday.  

 

 

 

     

 


Questions? Contact me.

All materials unless otherwise indicated are copyright © 2001-2008 by Stacy Tartar Esch.

The original contents of this site may not be reproduced, republished, reused, or retransmitted
without the express written consent of Stacy Tartar Esch.
These contents are for educational purposes only.