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Literary Analysis
I need the final Literary Analysis portfolio of of In Another Country
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NffigHUffiElfd : \IEw T h re ad
UBl207B 3:57 PM
Works that you may use for this paper:
o “ln Another Country” by Ernest Hemingway
o “The Chrysanthemums” by John Steinbeck
o “The Btack Balt” by Ratph Ettison
r ” Mending Watl” by Robert Frost
o Teacher approved atternates “The Lemon Tree Billlard House” (from last
semester), or “He” (tesson 10 in this unit).
Portfolios usi ng the above works listed will be graded on a 24 poi nt sca le for the
finat, plus 1 bonus point for the correct save file name and heading (see MLA
guide under resources).
*** “*hr, You Reckon?” by Langston H ughes witI be used
as my teacher exampte, and as a more guided work for students who need to use
this to comptete; if a student chooses to use “Why, You Reckon?” by Langston
Hughes for the portfolio, and does not have a listed accommodation for
poftfotios, they wittbe graded on a 20 point scate, plr-rs 1 bonus point forthe
correct save fite name and heading. This reduction in credit should not affect
a
student’s overal[ average by the end ofthe course, but does account for reduced
work in citing, organizing, anatyzing, and creating a thesis statement.
Your draft portfolio (outtine) does not need to have a futly written and edited
essay; parts of it should be written out, and the foltowing items are required:
Working thesis statement (25ak of grade); Thesis statement review: page 343
in Writing with Power.
Outline shows three items (at least two using cited items) to support your thesis
statement (25o/o of grade).
Works cited and possibty other quotes and sources you wi[[ use. The author’s
work tt4UST be cited correctly here (25% of gr.ade).
The last 25% of the draft grade covers questions you rvrite, pafts you have
drafted, effort, etc.
Check out the OWL at Purdue for an additionaI overview of literature analysis
papers:
I will also post a recorded Livelesson to the message board.
The finaI portfolio should be a polished essay, MLA formatted and cited, graded
https:r’irvww.connexus. com/forumlmessages.aspx ?i dSection:99945…
:A.
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on the rubric for this portfolio found in the lessons. Final portfotios r,vithoui citing
witlnot be accepted.
ReqLrirements and Objective of this paper:
Standard students shoutd write a minimum of a five paragraph essay for the
final portfolio.
l-. Thesis statement: Offers a debatabte idea about a work of [iterature. lf you
cannot imagine someone offering a reasonable chaltenge, interpreting
something differently, different judgment, or other outcome to your thesis, then
keep searching. Look to some of your daity reading questions (in lesson or page
after-the reading in the text book) for opinion or judgment questions where there
is more than one defendable answer. lf you find and use an expert soLrrce or two,
you can debate, elaborate, or defend the expert’s opinion, but you must show
that you are bringing new itenrs of you r own to your thesis and support; th is
portfolio is not simply the passing along of information. See the thesis entry for a
detailed example, webmail me if yor-r would like to discuss.
2. Do not summarize the work. lt is expected that you will introduce the
author and work; however, body paragraphs of summary wiI not earn credit.
You shoLrld assume the reader of your paper is famitiar with the work you pick to
anatyze. lf you 100% feel tike you need summaryto set up something in your
paper, this moLrld be an extra paragraph.
3. Use the work as part of your support. This is not the same as summary. Use
details, paraphrase, and use quotes that are cited.
Al[ students should have a works cited page: always include the reading
selection you are anatyzing. and any expert sources you use. Websites like
Wikipedia, Yahoo answers, and essay sample/purchase websites are not
atlowed or acceptable. Look for websites with good credentia{s, webmaiI me if
you would [ike me to look over a link or help with citing.
Standard students must use at least three quotes in support/body
paragraphs, with in-text citing. At least two of these needs to be from the
reading selection they are anatyzing.
Check my Work can be found under links on your homepage. Students must turn
this in before credii is awarded on alI finaI portfolios, please add link to your final
portfoIio, or add the report file.
Your draft portfotio will need an outline; here is an example, currently fitled in
with hints and suggestions. Outlining hetp can also be found on pgs. 347-350
in Writing with Power.
L lntroduction
2of4
A. lntro of author, work(s), and your focus area.
1123,2018.9:20 AM
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B. Thesis statement.
ll. Body paragr-aph 1 (replace with topici support purpose for each
paragraph)
A. ltem l– Each topic or main support item for your thesis should
be supporled by two items minimum.
B. ltem 2 – there are a variety of rvays to do this, see below.
lll. Body paragraph 2
A. ltem 1- you might use one quote or detaiI and gei two things
out of it, examine both sides of an issue.
B. ltem 2 – you might use a quoie from the author’s work and a
sentence from an expert to make one point.
lV. Body paragraph 3
A. ltem I – your outline shou[d clearly show three dilferent items
to support your thesis statement.
B. ltem 2 – each ofthese shoulci be explained by you. and show the
cited item you wiltuse.
V. Additionat paragraph(s) – can be mixed in with body paragraphs, but
shouldn’i take over, personaI reflection or connection, summary, or
cited quotes of more than four llnes.
Vl. Conclusion
a. Restate main point(s)
b. Share finaIthoughts (avoid new information in conclusion,
you should have it already)
* Foundations students, I highty recommend that you contact me by webmail, or
join LL (Thurs 1pm or Friday 11anr) to start this portfolio, I would Iike to help on
this one in particuiarlYou should have at least 4 paragraphs (try for more)with
two different body paragraph sub-topics, and two support quotes from the
literature work. *
See the resource area of the message board for citing hetp.
The graded areas of the draft are as fotlows: outline form is 250rb; citing the
author’s work you are analyzing (in-text quotes for support, and works cited
entry) is 250lo; thesis or giriding qurestion is 25o/ir; writing and conventions are 250h
of the draft grade.
3 of4 12312018,9:20 AM
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FinaI compteted titerature anatysis essay portfolio: (75%) of grade is by the
standard 6 trait rubric and applies to writing conventions, readability,
organization, being on topic, and tength. (250/o) of the gracie is for proper MLA
citing of literature quotes in support (mLrst include the author’s work, and up to
one expert and one biography optional), and works cited entry. +1 bonus point
for heading and correctly naming save fite. Send with check nry work tink (from
home page).
Attachments
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EnNrsr HrxrNGwAY
LlrrReRv LsNs: Mooo Mood is related to the emotional tone of a story.
Pay attention to the mood of this story.
z-7-
O/n.n” fall the war was always there, but u,e did not go to it any
l-./
^or..
It was cold in the fall in.lvlilanl and the durL*cu*” rr”ry
early. Then the electric Iights came on, ard it r,tas pleasant along
the streets looking in the rtindows. There was much garne hang-
ing outside the shops, and the sn6r^. powdered in the fur of the
foxes and the wind blew their tails. The deer hung stiff and heavy
and empty, and small birds brler, in the wind and the lriind turned
their feathers. It was a cold taU and the r,r,ind came down from the
mountains.
lVe were all at the hospital every aflernoon, and there were
different wavs of waiking across the town through the dusk to the
hospital. lwo of the ways \,vere alongside canais, but they rnrere long.
Ah,rravs, though, you crossed a bridge across a canai to enter the
hospital. Thereu’as achoice ofthreebridges. On one ofthem awoman
In
Anbther
Country
I Flilan: a large city in northern ltaly
Voices of Modernism ln Another Countrv 249
pavilions:
ittnexes;
oJlculldllEs
sold roastedchestnuts.Itlvaswarm, standinginfrontof-hercharcoal fire, andthe
chestnuts were warm aftenrrard in your pocket. The hospital
“t
as very old and
verv beautiful, and you entered thrcugh a gate and rvalked across a courtyard
and out a gate on the other side. There were usually funerals starting from the
courtyard. Berrond the old hospital ltrere the ner,r, brick pavilions, and there
\^7e met every afternoon and were all very polite and interested in what lvas
the matter, and sat in the rrachines that were to make so much difference.
The doctor came up to the machine where I was srtting and said: “What
did you like best to do before the war? Did you practice a sport? ”
I said: “Yes, football.”
“Good,” he said. “You r,r,ill be able to play football again better than
ever.”
lvly knee did r”iot bend and the leg dropped straight from the knee to the
ankle r.tithout a calf, and the rnachine was to bend the knee and make it
move as in riding a tricycle. But it did not bend yet, and instead the machine
lurched u,hen it came to the bending part. The doctor said: “That n,ill all
pass. You are a fortunate young man. You will play football again like a
champion.”
In the next machine rvas a major who had a little hand like a baby’s.
He winked at me when the doctor examined his hand, which was between
two leather straps that bounced up and down and flapped tlie stiff fingers,
and said: ‘And rr.ill I roo play lbotball. captain-doctor?” He had been a
very great fencer, and before the r,r,ar the greatest fencer in ltaly.
The doctor went to his office in a back room and brought a photo-
graph which showed a hand that had been withered almost as small as the
major’s, befbre it had taken a machine course, and afler r.vas a little larger.
The major held the photograph rvith his good hand and looked at it very
carefully. “,A. rvound?” he asked.
‘An industrial accident,” the doctor said.
“Very interesting, -“,er\r interesting,” the rrajor said, and handed it back to
the doctor.
“You have confidence? ”
“No,” said the major.
There lruere three boys who came each day who were about the same age
1 r.t’as. The)z were all three from Milan, and one of them was to be a lawyer,
and one \,\,’as to be a painter, and one had intended to be a soldier, and after
we were finished with the machines, sometimes we walked back together
250 Ernest Hemingway Unit 3
to the Cat6 Cova, lvhich was next door to the Scala.: We walked the short
way through the communist quarter because \47e were four together. The
people hated us because \^.,e uTere officers, and from a rt,ine-shop some-
one would call out, “A basso gli uiiiciali!”‘ as *,” passed. Another boy r,r,ho
walked with us sometimes and made us five wore a black silk hand-
kerchief across his face because he had
no nose then and his face r.r.as to be
rebuilt. He had gone out to the front from
the military academy and been wounded
lvithin an hour after he had gone into the
front line for the first time. They rebuilt his
face, but he came from a very old family
and they could never get the nose exactly
right. He went to South America and
‘*,orked in a bank. But this was a long
time ago, and then we did not any of us
know how it was going to be afterward.
We only kneu, then that there lvas always
the war, but that we were not going, to it
any more.
We all had the same medals, except
the boy with the black silk bandage across
his face, and he had not been at the front
long enough to get any medals. The tall
boy r,l,ith the very pale face lvho tvas to
be a la\^,yer had been lieutenant of Arditia
and had three medals of the sort u7e each
had only one of. He had lived a verv long
time with death and r,r,as a iittle detached.
We were all a littie detached, and there u’as
nothing that held us together except that we
met every afternoon at the hospital. Although, as we walked to the Cova through
the tough part of town, u’alking in the dark, with light and singing coming
out of the wine-shops, and sometimes having to r,valk into the street when the
2 Scala: La Scaia, a iamous ooera house in Miian
3 ‘? bosso gli ufficiati!”: ltaiian fcr “Do’ryn rvith the cfiicersi”
4 Arditi: heaviiy armed and nighly tralned solciers who vvere given the most dangerous combat assrgnmenis
ERNEST HEMINGwAY RECoVERING FROH WWI WOUNDS
lrALY, l9l9
Voices of lYodernisnr In Another Country 25r
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**t*****,.**************t****t**************t*********t*t**it******l**i*l******ti**l*t**
?/n” boys aL ltrsl were ver/
polite about my medals and asked
me what I had done to get them,
men and women r,r.ould cror,r’d together on the
sidewalk so that we would have had to iostle
them to get b.v, lve felt held together by there
being something that had happened that they,
the people ‘w’ho disliked us, did not under-
stand.
We ourselves all understood the Cova,
r,vhere it rvas rich and warm and not too brightly lighted, and noisy a1d
smoky at certain hours, and there were alrt ays girls at the tables and the
illustrated papers on a rack on the wall. The girls at the cova were very
patriotic, and t found thar the most patriotic people in ltaly were the caf€
girls-and I believe they are still patriotic.
The boys at first were very polite about my medals and asked me what I
had done to get them. I showed them the papers, which'”t’ere written in very
beautiful language and full of fratellanza5 and abnegazione,6 but which really
said, with the adjectives removed, that I had been given the medals because
I was an American. After that their manner changed a little toward me,
although I was their friend against outsiders. I was a friend, but I was never
really Jne of them after they had read the citations, because it had been dif-
ferent with them and they had done very different things to get their medals’
I had been r,r,ounded, it was true; but we all knelt’ that being r’r’ounded, after
all, was reallv a1 accident. I was lever ashamed of the ribbons, though, and
sometimes, after the cocktail hour, I would imagine myself having done all
the things they had done ro ger their medals; but waiking home at night
througir the empty streels with the cold wind and all the shops closed, trying
to ke”p near the street lights, I kneu, that I would never have done such
things, and I was very much afraid to die, and often lay in bed at night by
.,ryr”l; afraid to die and wonderilg fiow I would be rvhen I went back to the
flront again.
The three r,r,ith the medals rtere like hunting-hanks;’ and I r.t’as not a
hawk, although I might seem a haw-k to those who had never hunted; they,
the three, knew better and so we drifted apart. But I stayed good friends with
the boy rvho had been wounded his first day at the front, because he would
5 frotellonzo t :ro1he’hooC
6 obnegozione: sacifice
7 hunting.hawks: Literaiiy’ huntin”g lawks are 5jrds tr:jned to nunt and J oecole wlc are oro-mi ta’Y’.
752 Ernest HemingwaY **t**iff *ff *ffi ff *****ff *******ffi ****ffi ,ffi *ff ************t***
never kno\^I nolv hov/ he would have turned out; so he could never be accepted The major, who had been the great fencer, did not believe in bravery, The major came very regularly to the hospital. I do not think he ever “What will you do nhen the war is over if it is over?” he asked me. “l will go to the States.” must not marry.” everything, he should not place himself in a position to lose that. t{e should He spoke very angriiy and bitterl-v and looked straight ahead while he Voices of lYodernisn-r ln Another Country 253 **f****i*#r**********ffff**********ffirrt*****t***t**t**,t**trffi*ffi***lt**.t**t*********
“But why should he necessaril-v lose it? ” down at the machine and jerked his little hand out from betr.t een the straps He went back into the other rootn for the light treatment and the mas- “l am sorry,” he said, and patted lne on the shoulder u,ith his good “Oh-‘ I said, feeling sick for him. “l am so sorry.” not resign myself,” to cry. “l am utterl-v unable to resign mvselfl” he said and choked. And The doctor told me that the malor’s rt ife, who was very young and r.t hom 8 invalided ost of the war: meaning that the major was injured and could no longer fight in the war
Ernest Hemingway254 Unit 3
Unit 3
either, and I liked him because I thought perhaps he rvould not have turned
out to be a hawk either.
and spent much time while \^/e sat in the machines correcting my gramrnar.
He had complimented me on how I spoke ltalian, and r,te talked together
very easilv. One day I had said that ltahan seemed such an easy lanE;uage
to me that I could not take a great interest in it; everything was so easy to
say. ‘Ah, yes,” the major said. “Wl’ry, then, do you not take up the use of
grammar? ” So we took up the use of granmar, and soon Italian was such a
difficult language that I rvas afraid to talk to him until I had the grammar
straight in my mind.
missed a day, although I am sure he did not believe in the machines. There
was a time when none of us believed in the machines, and one day the major
said it was all nonsense. The machines lvere nel^7 then and it uras we who
were to prove them. It was an idiotic idea, he said, “a theor\.’, like another.” I
had not Iearned my grammar, and he said I was a stupid impossible disgrace,
and he was a fool to have bothered with me. He was a small man and he sat
straight up in his chair with his right hand thrust into the machine and
looked straight ahead at the r.all r,thile the straps thumped up and down
with his fingers in them.
“Speak grammatically! ”
‘Are you married? ”
“No, but I hope to be.”
“The more of a fooi you are,” he said. He seemed very angry. ‘A man
“Why’, Signor Maggiore? ”
“Don’t cali me’Signor tr’laggiore.”‘
“Whv must not a man marry?”
“He cannot marry. He cannot marry,” he said angrily. “lf he is to lose
not place himself in a position to lose. He should find things he cannot
lose.”
talked.
“He’ll lose it,” the major said. He rn,as looking at the wall. Then he looked
and slapped it hard against his thigh. “He’ll lose it,” he almost shouted.
“Don’t argue with me!” Then he called to the attendant r.tho ran the
machines. “Come and turn this damned thing off.”
sage. Then I heard him ask the doctor if he might use his telephone and he
shut the door. When he came back into the room, I was sitting in another
machine. He lrras wearing his cape and had his cap on, and he came directll,
toward my machine and put his arm on my shoulder.
hand. “I would not be rude. My wife has iust died. You must fbrgive me.”
He stood there biting his lor,r,er lip. “lt is very difficult,” he said. “l can-
He looked straight past me and out through the window. Then he began
then crying, his head up looking at nothing, carrying himself straight and
soldierly, with tears on both cheeks and biting his lips, he walked past the
machines and out the door.
he had not married until he lr,as definitely invalided out of the war,E had d’ed
of pneumonia. She had been sick only a few days. No one expected her to die.
The major did not come to the hospital for three days. Then he came at the
usual hour, wearing a black band on the sleeve of his unitbrm. When he came
back, there were large framed photographs around the wall, of all sorts of
u,ounds before and after they had been cured by the machines. In fiont of the
machine the major used were three photographs of hands like his that were
completely restored. I do not knor,r, where the doctor got them. I alrvays under-
stood we \^iere the first Io use the rnachines. The photographs did not make
much difference to the maior because he only looked out of the windou,.
