Ok, so I said I'd get these on the blog on Friday ... I'm late by 48 minutes. Apologies. Anyway, here they are:
Rhetoric 1A, first essay prompts
Essays are due at 3pm on Monday, October 4 in the box in front of 7408 Dwinelle. Your essay should be 4-5 pages long (minimum 4, maximum 5), and should employ standard formatting (double-spaced, 12pt Times New Roman or equivalent, standard margins, etc).
Choose one of the topics below, or feel free to make up your own. If you choose to write on a topic of your own creation, you must get your topic approved by either Amanda or Ben. ONE CAVEAT: you are not allowed to write about the Frost poem “The Road Not Taken.”
1) In the first few weeks of class, we’ve seen many of the writers we’ve read engage with the concept of "identity." Whitman is the most obvious candidate here – his poems, we’ll remember, work most explicitly to figure America (and perhaps the individual American body) as the paradoxical assemblage of unlike, perhaps even conflicting modes of being – but Nietzsche and Hughes too, certainly contribute to this discussion, Nietzsche by posing identity proper as merely a story we tell ourselves to stave of fears of meaninglessness, and Hughes by singing America with a voice whose sincerity is always under question.
In your paper, take either Nietzsche or Hughes and read their work as a potential response to the version of identity we get in Whitman’s poems. That is, you want to start by explaining what you take to be Whitman’s reading of identity (this can be either individual or national identity), then go on to show how Nietzsche or Hughes either complicates, confirms, elucidates, problematizes or recasts what you’ve said about Whitman. What you should be shooting for is not a simple compare and contrast paper, but one that shows why the pairing you’ve chosen is significant and what it lets us see that we couldn’t see by reading Whitman on his own.
(After writing this, I realized that Frost’s “Mending Wall” might also be a good poem to pair with Whitman along this dimension. So if you’re feeling super ambitious, feel free to substitute “Mending Wall” for “Nietzsche or Hughes” in all the above.)
2) One of the key elements animating Nietzsche’s work is the concept of metaphor. This happens for Nietzsche on at least two levels: on one level, his essay describes how he thinks metaphor helps fundamentally constitute both language, and by extension, truth; on the other, his essay uses metaphor after metaphor, many of them quite striking, to make this point.
In your paper, take a particular metaphor from any of the works we’ve read (this includes the many poems we didn’t have a chance to get to) and show how that metaphor works both in relation to the work of which it is a part and as a potential truth-making moment of the sort Nietzsche describes. You have a bit of free rein here as to the importance Nietzsche himself will play in your analysis. That is, your paper can spend a lot of time on Nietzsche, with the metaphor you’ve chosen from a different authoe merely helping to explain Nietzsche’s argument, or can use Nietzsche to frame your more specific reading of another author. Or, if the metaphor you’re struck by comes from Nietzsche’s work itself, you’ll probably want to use some combination of the two approaches.
3) Perform a close reading of one of the poems in the packet (whether we discussed it in class or not) with an eye towards what that poem has to do with the idea of vernacular as we’ve started to understand it. As a good close reading, your analysis of the poem should attend to one or more of the poem’s formal elements - syntax (word order), diction (choice of words), rhythm, meter, enjambment (line breaks), structure or punctuation, among many others. Whether you use those formal names or not isn’t important (i.e. we don’t care if you call what you describe “syntax” or not); what is important is that you show how the elements you’ve selected help us understand how the poem works, what it communicates, and how these elements, when put together, describe a particular vision of what “vernacular” either means or could mean.