Jessica Danielle Powell's English 170W Blog
The Long Development of a Short Story.
My Cover Letter: Dear Reader
Posted on December 19th, 2011 at 8:46 pm by Jessica Danielle Powell and

Dear Reader,

This website is an analysis of Kate Chopin’s, “The Story of an Hour”. In addition this website is a compilation of assignments I’ve completed during the course of my English 170 Introduction to Literary Study Writing Intensive Class at the City University of New York Queens College. English 170 Introduction to Literary Study Writing Intensive is a hybrid course meaning that half of  the class was I n person and the other half was virtually, also known as Web Wednesday’s. Every post that is beneath this post is a product of In Class Discussion, homework assignments, and “Web Wednesday” writing assignments. In addition there are pages that are listed towards the bottom that are the result of homework and project assignment through the semester. Most of these assignments from class focus on Kate Chopin’s “The Story of an Hour” and aided in the process of building this blog page. So, no, this page isn’t thrown together idea’s based on opinions but rather a semester long study and analysis of a classic and controversial short story.

The process of building this web page was tedious and required hours of meditation on the topics discussed in class and independently, studying, and continuous reading of “The Story of an Hour”. The hour or so I spent in class a week was not enough time to process the information necessary to build this page or fulfill the expectancy for all of my weekly assignments. On the bus, walking home, eating pizza, before I go to sleep, while studying, I always thought “O.K. so how can I make this assignment easily understood by anybody…anywhere?” This mindset required me to try on different mindsets and perspectives. So, in essence the process of building this web page was tiring, but building this web page was like exercising to lose weight (Time for an ANALOGY) At first your body is sore and you are so tired and in so much pain that you don’t want to get out of your bed in the morning, BUT, despite how much pain you are in you KNOW that you are in better shape then you were yesterday. I know that despite how sore my hands are from continuously typing in order to work this page out that I am in better literary and literal shape than I was when I started. I hope this page does the same for you.

My strength upon entering the class was being able to criticize literature using the New Critism method. Do you think I knew what I was doing when I criticized literature before entering this class? The answer is NO, I sure didn’t. MY ultimate weakness was being ignorant of the methods that I use to understand and comprehend literature. Once I understood and knew the method’s I was using or that I could use to criticize literature I became a lot more confident in using different methods. In addition, I wasn’t able to have such a long attention span and focus on literature before I began producing these pieces of writing. I always tried to “get finished” with everything quickly. But now I have a longer attention span, a greater focus, and a better understanding of literature and of course on my own writings about literature.

As a writer I still face the challenge of being able to sit down and confer with my work face to face. Although while I’m writing it I’ve learned to take my time, after I’ve written something it’s still difficult to read it back to myself. But, I’m confident that this issue will be resolved. By writing all of these pieces of literature I have become:

  1. A Faster Typer (insert chuckle here)
  2. More able to understand how I can write using different literary perspectives
  3. Better able to focus on my writing and spending more time with my writing
  4. Patient with myself and my abilities
  5. Able to better appreciate what’s required for the English Major
  6. Respond to language with a clearer eye and a sensitive state of mind
  7. Find and use different Secondary Sources (Scholarly Ones of course!!)
  8. Better able to express myself digitally

I’m glad I took this class despite the fact that I was really nervous about it once I heard “Literary Criticism” because I’m in better shape now than I’ve been my whole life…and it feels good.

(Puts on sunglasses and walks into the sunset while dramatic movie music plays)

Revising My Site
Posted on December 7th, 2011 at 7:48 pm by Jessica Danielle Powell and

One thing that I really want to do is organize my work in a way in which anyone from anywhere can navigate through this webpage. Make things clear and easily recognizable. I’ve added the pages for my final project and I see that I’m going to have to change my layout on my blog in order for everyone to see them all at once.

Identify which assignment’s will correlate to each page for my final project. Which assignment’s will help me to most effectively get my point accross to my audience about the author, or the storys themes and motifs etc.

I’ve sued the syllabus to outline exactly what kinds of revision’s are necessary for me to do and what they will accomplish

  • Find and evaluate appropriate secondary sources (including visual, graphic, or numerical information), to select quotation for use as evidence, to integrate quotation, and to properly cite quotation using MLA style.
  • So as I’m doing my final project I’ll integrate quotation’s and proper MLA style when using secondary sources etc.
  • Develop and use strategies for improving writing and critical thinking through recursive practice, self-reflection, and the process of revision
  • Stateigivally reflect and revise my pages which will help me to develop a method in which I’ll be able to fill in the pages for my Final Project.

Internet Based

Understand the conventions of online presentations; prepare and deliver them; lead discussions based on such presentations.

I will prepare and deliver my web page the simplest and easiest to understand way for those who will view it [organization, spacing, thematic qualities]

🙂 and I think that’s about all. lol

I really love this whole working on thei nternet thing for English class.



Mania !
Posted on November 30th, 2011 at 7:56 pm by Jessica Danielle Powell and

Madeleine had been trying to beat Alton [in tennis] her entire life without success. This was even more infuriating

Has Been Trying: Attempted and gave up

because she was better than he was, at this point. But whenever she took a set from Alton he started *intimidating her,

acting mean, disputing calls, and her game fell apart*. Madeleine was *worried that there was something paradigmatic in

this*, that she was destined to go through life being cowed by less capable men. As a result, Madeleine’s tennis matches

against Alton had assumed such outsize personal significance for her that she got tight whenever she played him, with

predictable results. (10)

Task: Perform a New Critical close reading that argues how Eugenides’s word choice develops the theme of mania.


: excitement manifested by mental and physical hyperactivity, disorganization of behavior, and elevation of mood; specifically : the manic phase of bipolar disorder
a : excessive or unreasonable enthusiasm <a mania for saving things> —often used in combination
Words or phrases that imply mania
Even More: The phrase even more signals an increase which signals hyperactivity.
Better: Signals an increase in capacity or ability (an elevation in mood)
intimidating her, acting mean, disputing calls, and her game feel apart: The comma’s that are present in this sentence signal that there is hyperactivity going on. For example, the use of a comma is to make a pause and since Madeline is becoming so worked up they are necessary in order for us to clearly understand who and what she is talking about. Also when someone begins to list the reasons why for anything they usually get worked up and hyperactive like Madeline.
Worried: Worry often put unecessary pressure on the mind to think longer and harder on something that may not need that excessive attention. The word worry means to cause mental distress which can also be categorized as mania.
As a Result: Signals a drop in hyper activity because it brings all of the actions to a close.
Assumed suchoutsized personal significance for her
Such: Signals more
Outsized: Signals that “tennis'” significance was much larger than her which is an example of emotional elevation
Tight: In slang terms this means upset which illustrates emotional elevation
Predicatable: Her excitement about the object of affection [Tennis] did nothing to help her in anyway which is usually the outcome of mania…nothing.
Eugenides uses this paragraph to develop the theme of mania by using clever diction and syntax. All of the words above work together to come to a climax which is then dropped due to the fact that Madeline’s mania or emotional elevation for tennis and beating Alton did nothing to help her actually beat Alton.
The Rights of Marriage
Posted on November 21st, 2011 at 4:50 am by Jessica Danielle Powell and

So far my research has been okay. I’m not thrilled about it because it seems like on Academic search complete I can’t find exactly what I’m looking for. I warn whoever is reading this that I am about to “Constructively” rant about my story until I come to an open ended question to answer with research [insert chuckle here]


The Story of an Hour is one of the most powerful short stories I’ve ever read. Its a story filled with the mystery behind marriage and its constant dance with opression. One thing that I find so amazing about this story is how Mrs. Mallard isolates herself from everyone when she finds out about her husbands death. The rainbow of emotions that Mrs. Mallard experiences is what really facinates me. MY question is why, why and how does Mrs. Mallard go through the spectrum of emotions she does that lead to her unexpected but foreshaowed death.


The story explains that Mrs. Mallard died of a heart condition, of joy that kills. And in the beginning the narrator tells us that Mrs. MAllard was already afflicted with heart trouble so great care was taken to break the news of her husbands death to her. Did anyone stop to think that the reason why Mrs. Mallard was afflicted by heart trouble was because of how her husband killed her freedom in their relationship? …Why was freedom for women in a marital relationship so hard to find? Mrs. Mallard tasted freedom that she should have already been familiar with for the first time and within an hour it was given to her through death and taken away by a life that caused her to die. She didn’t just die physically but all of her hopes and her dreams died too. Imagine you taste freedom for an hour and then its taken away from you. Mrs. Mallards heart literally broke in two.

Marriage is the unification of two people into one. This unifciation results in one body that is bigger, stronger, and able to do more than two seperate bodies. Through better or for worse, richer or for poorer, in health or in sickness…Mr. Mallards wife was sick, pregnant with hopes and dreams that he claimed weren’t his.


“She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.

There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

And yet she had loved him–sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!

“Free! Body and soul free!” she kept whispering.”

The death of her husband shed light on her life reminding her that you can live for youself, that you do not have to be subject to the will of another human being and that her will was important too. Earlier in the story it is said that she attempted to fight back the “thing” that was coming toward her from out of the open window…she lost her will to fight “freedom” and gained her will to have “freedom” and then lost her will to live in freedom because of the existence of her alledgedly dead husband.


Mrs. Mallard knew that men should not be able to impose their unbending will on another woman, and that action seemed no less than a crime but society didn’t see it that way, but in that moment she saw everything !

So my question is: What rights did men and women have in society and consequently in a marital relationship in the Late 19th Century? [Why were women subjected to the will of a man?] And why or why not? And how does this support the ultimate and untimely death of a young Mrs. Mallard?

I’m also curious to how Mrs. Mallard experience with freedom relates to slavery…but that’s another topic for another time 🙂 thanks for reading please leave your comments and such!!!

The “Orchestral” Method — Growth and Structure
Posted on November 9th, 2011 at 7:46 pm by Jessica Danielle Powell and


Manikin trades necklace for spun gold   Daughter put in room with task  
  Miller lies to King about daughter King marries daughter
Manikin trades child for spun gold Queen sends messenger out to find names
Manikin makes new promise about guessing name Manikin splits self in two

Okay, Well I tired as best as I can and I dont know if I’m supposed to tell you what the conencting things are but I’ll put them here anyway

Deals –> Things done in Deciet –> Research [Going outside for more information] Gaining from other sources –> Demise


The events in the table relate to each  other in my eyes using these four categories. 🙂


In the case of Rumplestiltskin the repetitive nature of bargaining and strategies that were used to obtain what any one character wanted provided a clear cut structure for the whole story. This structure provoked the story to continuously grow through its development and evidence of this is that the bargaining that happened between the daughter and rumplestiltskin steadily became more high risk. Another structure that was implemented into the myth Rumplestiltskin was that of family. Throughout the myth you saw that the family had grown not just qualitatively [in numbers, by having a child through marriage] but also quantitatively. The first intention of the main character’s father was to make their family wealthier and by making deals with Rumplestiltskin to turn straw into gold the father’s plan worked and his daughter became married to the King of the land. The Climax of the story, when it was up to the Queen to figure out Rumplestiltskin’s name was also an example of growth in the story due to the structure of deal making instilled early on in the story. Also Rumplestiltskin had a structure of deception that elevated, as the story progressed and the deception became so unbearable that the Queen is forced to do some outside research. Rumplstiltskin resembles the growing up of a child. For example once structure is implemented into a child’s life, growth must come right after.

Steps for a Semiotician
Posted on October 26th, 2011 at 6:36 pm by Jessica Danielle Powell and


Since brass, nor stone, nor earth, nor boundless sea,
But sad mortality o’er-sways their power,
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
O, how shall summer’s honey breath hold out
Against the wreckful siege of battering days,
When rocks impregnable are not so stout,
Nor gates of steel so strong, but Time decays?
O fearful meditation! where, alack,
Shall Time’s best jewel from Time’s chest lie hid?
Or what strong hand can hold his swift foot back?
Or who his spoil of beauty can forbid?
O, none, unless this miracle have might,
That in black ink my love may still shine bright.

‘Relationship: Text to Man and Man to Text

Understand that a poem is not a poem its is what it is made out of. A poem [words] are not only words.

  1. Read the text quietly and record changes in your sensory responses
  2. Read the text aloud and record changes in your sensory responses
  3. Identify the words that created the most change in your sensory response.
    1. Would you be able to obtain that response if you replaced one of the words in the poem? Why or why not?
    2. The words that created the most change in sensory response break down the word into:
      1. Sign
      2. Signified [Concept]
      3. Signifier [Sound Image]
What a Semiotician would say:
These steps are adequate but there are other things to have the reader focus on. What about the nature of the signifier’s in the poem and the value of the words used in the poem? And what are the differences between the words use in the poem related to sensory reactions?
These steps are adequate to interpret Sonnet 65.
Hovering Annotations/New Critics View on the Shakespeare Sponnet
Posted on October 19th, 2011 at 6:41 pm by Jessica Danielle Powell and

Okay so this is what I did. I went through the interpretation and I noted what a New Critic would say…it looks long but its just the interpretation with my inserted notes =]

The theme of mortality is continued, with the same items of earthly longevity and stability quoted as in the preceding sonnet – brass, stone (towers), earth, and the all hungry but mortal ocean.

A New Critic wouldn’t agree with how this interpreter got to the theme because in the beginning of this sentence the interpreter says the word “continued”. Further on into the interpretation of this sonnet the interpreter makes reference to the same poem in another form. The number one rule of a new critic is “arriving at the correct interpretation of a text – using – for the most part the text itself” (Bressler 53). I can see the New Critic now thinking, “Continued? What do you mean continued? This is a complete piece of work on its own! What continuation are you talking about?” The last step in the New Critic’s process is to examine text, allusions, symbols, structural patterns, tone, relationships where tension may arise, and then, only then will you be able to come to the theme and how it resolves tensions within the poem. Although the new critic would have an issue with how the interpreter got to the theme they would agree that there is a theme, and that this interpreter did not come to the correct theme because of the method they used to obtain it.

1. Since brass, nor stone, nor earth, nor boundless sea,
brass, stone, are the paradigms of long lasting substances. earth and boundless sea are also long lasting and superior in that they are of near boundless extent. These are all things which ought by their nature to be capable of holding out against mortality.
New Critic says: GOOD JOB! [Use of Step 1 and 3]
Here, the interpreter is demonstrating Step 1 and Step 3 in the process of New Criticism. The words brass, stone, earth, and sea are being recognized for their denotative and connotative definitions. In order to come to a correct interpretation of what the text means, a new critic believes that the diction of the poem should be examined for all definitions. A new critic would agree with the interpreters choice to interweave the connotative and denotative definitions of brass, stone, earth, and sea to come to a conclusion that they are “of near boundless extent”. Step 3 is demonstrated by analyzing the symbols [brass, stone, earth, and sea] to show that they represent things that are able to go against time and last beyond it.

2. But sad mortality o’ersways their power,
sad mortality = mortality which causes sadness; solemn, ugly, hideous mortality.
o’ersways their power = has greater power than they have. ‘To exercise sway over’ is to rule over. The term is not much used nowadays in this sense (OED.n.5.) but is found in such phrases as ‘to hold sway over’. to oversway is to be superior to one who already holds sway.
New Critic says: GOOD JOB! [Use of Step 1]
Again, the interpreter is examining the diction of the text by defining “sad mortality” denotatively (mortality which causes sadness) and connotatively (solemn, ugly, hideous mortality), and in addition examines the etymological roots of “o’ersways” which helps to understand how it is used in the context of the poem.

3. How with this rage shall beauty hold a plea,
rage is used in two previous sonnets in a similar context, to exemplify the blind fury of Time’s destructiveness.
And barren rage of death’s eternal cold? 13.
And brass eternal slave to mortal rage; 64.
It is suggestive of the madness of an unreasoning tyrant, or the irrationality of someone who has gone berserk.
A New Critic says: NO!
Although the interpreter may be correct, he used an examination of the same words in a different poem and used that examination to define the same words in the poem he is working with. That previous sentence was a tongue twister but in order to come to valid examination of the text’s diction (Step 1) you have to use the text you are working with and not others.
The interpreter used the connotative definitions of the same words in a different poem and applied it to this one.
* The interpreter, pretty much, copied and pasted the definitions of the same words from a different poem into the interpretation of this poem.

hold a plea – hear a plea, as in a court of law, where an action might be advanced for a stay of execution. SB thinks it is a misapplied term, the precise meaning being ‘”to try an action” – i.e. to have jurisdiction, to be judge’ (SB p.246.n.3.) OED 1.b. does indeed give the definition ‘to try an action’ with various examples, e.g.
1570–6 Lambarde Peramb. Kent (1826) 182 Having a court…in which they hold plea of all causes and actions, reall and personall, civill and criminall.
But one suspects that the meaning is the more general one of sustaining or defending a plea, which the average layman might take it to be. OED also gives under “hold” (3.d.) the meaning: “To sustain, bear, endure, ‘stand’ (some treatment)”. with the following examples:
1606 W. Crawshaw Romish Forgeries Aija, If the matter will not hold plea, and if my proofe be not substantiall. 1607 Shakes. Cor. iii. ii. 80 Now humble as the ripest Mulberry, That will not hold the handling.
The fact that the first example contains the phrase ‘hold plea’ works in favour of taking a more general sense of the phrase, rather than the restricted one given as OED.1.b. The imagery is that of a timorous subject defending an action before an enraged and absolute judge who is clearly not going to take any notice of the plea offered.

A New Critic says: Almost there…
Here, the interpreter provides the denotative definition of the phrase “hold a plea” and also gives us its etymological roots. It’s good that the interpreter provided the denotative definition of the phrase but went too far when giving outside examples. In Bressler’s “Russian Formalism and New Criticism” he states “readers will be able to justify their interpretations of a text with information gleaned from the text alone”. Here the reader, who is now the interpreter is using information outside of the text to make sense of what’s inside of the text itself.

4. Whose action is no stronger than a flower?
action – the legal terminology continues. The legal action undertaken by beauty to prevent destruction is no more effective than a flower attempting to stop the march of time. The metaphor ranges beyond the merely legalistic, and sets up the image of the flower being trampled by the boot of the tyrant.

A New Critic says: Good [Use of Steps 1 and 3]
The interpreter takes into consideration the denotative and connotative definition of action and analyzes the metaphor within the text. In addition he relates it to the phrase in the previous line “hold a plea” to show a continuation of legal terminology.

5. O! how shall summer’s honey breath hold out,
summer’s honey breath = the balmy, perfumed breezes of summer, the scent of flowers.
hold out – an echo of hold a plea above.

A new Critic says: Good [Use of Step 1 and 4]
Here the interpreter states the connotative and denotative definitions of the poems diction. In reference to step 4, the interpreter noted how the poet echoes the tone and definition of the phrase “hold a plea”.

6. Against the wrackful siege of battering days,
wrackful – bringing devastation, wreckage and ruin. Full of such disasters. Based on the word wrack, meaning ruin and devastation (OED.n.1.2.a.) An alternative spelling perhaps to wreckful (although OED does not give it as such).
the wrackful siege of battering days – the image is of siege warfare, and the battering ram, which was a large beam of wood swung with great violence against the gates of a city to batter them down . The end of a successful siege (from the attackers’ point of view) was the capture and destruction of the city.

New Critic Says: Excellent [Use of Step 1 and 3]
The interpreter gives us the connotative and denotative definition of “wreckful”. He also analyzes the image of “the wreckful siege of battering days”. By doing these two things alone and in their own context a New Critic would be happy.

7. When rocks impregnable are not so stout,
rocks impregnable – i.e. they are impregnable to any human agency, but time can overpower them. impregnable – unassailable. A word often applied to fortresses and other strong military defence points.

New Critic says: On point.
This interpreter executes step one excellently by considering the denotations and connotations of the words in order to bring meaning to the phrase “rocks impregnable”.

8. Nor gates of steel so strong but Time decays?
gates of steel – the defence of a walled city. Shakespeare describes Troy’s gates in Troilus and Cressida:
………Priam’s six-gated city,
Dardan, and Tymbria, Helias, Chetas, Troien,
And Antenorides, with massy staples
And corresponsive and fulfilling bolts,
Sperr up the sons of Troy. TC.Pr.15-17.
They protect the inhabitants for the interim but are no defence against the ravages of time.
but Time decays – but even them Time causes to decay. Decay is not normally a transitive verb, and here it is left uncertain as to how Time achieves its end of universal decay.

New Critic says: Good job but you went too far when you started talking about Troy’s Gates.
Again the interpreter executes step one flawlessly but goes too far when he talks about the gates of Troy. If the interpreter had to explain that only using the text in front of him he couldn’t because nowhere in the text does it mention “The Gates of Troy”. The interpreter references to “Time’s” denotative meaning and intertwines that with how it is connotatively used in the poem to cause decay.

9. O fearful meditation! where, alack,
fearful – to be feared, causing fear. The fearful meditation is that which has already been stated, and the fears which are about to be stated.

A new Critic would say: Good Job
The interpreter used the connotation and denotation to come to a valid conclusion about an idea in the poem.

10. Shall Time’s best jewel from Time’s chest lie hid?
Time’s best jewel – the most precious thing in the world; the beloved youth.
Time’s chest = the treasure chest in which Time stores all the things it steals. A coffin.

A New Critic Would say: Best Execution of Step 1
The interpreter beautifully interweaves the connotation and denotation of time, jewel, and chest to evaluate the poems ideas.

11. Or what strong hand can hold his swift foot back?
The hand/foot imagery suggests the possibility of a) tripping up Time as it speeds on its way; b) the helplessness of a hand raised in a useless and abandoned attempt to stop a far stronger and swifter adversary.

New Critic says: Awesome!
The interpreter here is noticing the imagery which is a crucial step in interpretation according to the New Critic.

12. Or who his spoil of beauty can forbid?
spoil = spoliation, despoilment, disfigurement. SB defends the Q reading of who his spoil or beauty can forbid. He takes it to mean ‘Who can deny Time the enjoyment of his loot (spoil) and who can forbid the youth to be beautiful?’ (SB.p.247.n.12).

New Critic says: You had me at the beginning…
The interpreter is on the right track when he considers the connotation and denotation but was wrong when he makes reference to another text .

13. O! none, unless this miracle have might,
O none – this is the answer to the two questions posed in lines 11-12. No answer is given to the first question of lines 9-10, where … shall time’s best jewel from time’s chest lie hid? But in a sense all three questions are answered, if we allow the miracle that the jewel may be hidden in the lines of this (and other) sonnets, that the poet will hold back the swift foot of time, and that the despoliation of beauty will be made good by the descriptions of his beauty to be found in these verses.

New Critic says: Why do you keep doing this to my craft?
The interpreter is beginning to look at tensions between certain lines and see answers to questions. He notes how other lines answer questions posed in the text previously. But YET AGAIN he talks about other sonnets…and messes everything up.

14. That in black ink my love may still shine bright.
my love = you, the beloved youth; my love for you. The blackness of the ink opposed to the shining brightness of the youth described in the sonnets is part of the miracle of his preservation.

New Critic Says: Finally, at least you ended on a good note…oh wait never mind.
The interpreter deals with only the text here, giving recognition to the connotative and denotative value of the 14th line. The interpreter takes what he has learned about this text and validates it by using other texts, which in a new critic’s eye devalues EVERYTHING.

Overall the interpreter demonstrated the use of Steps 1-3 throughout his whole interpretations which hardly reflects everything a new critic would agree with. The interpreter often uses outside sources to validate the text and that’s something a new critic would not agree with on any level.
The interpreter starts on a good note and ends on a bad one.

Line 8: Nor gates of steel so strong but time decays?

Nor gates of steel so strong but time decays?

The Influence of Digital Humanities on Abrams Map of Critical Theories
Posted on October 17th, 2011 at 5:15 am by Jessica Danielle Powell and

MY outlook on Digital Humanities
Posted on October 12th, 2011 at 4:15 am by Jessica Danielle Powell and

 The Wordle and the NGRAM are useful Digital Humanities tools, but are NOT helpful in understanding literature. The Wordle and NGRAM are just new ways to do old things (sitting down at a table with a lamp and magnifying glass in front of Homers “The Odyssey”). I strongly believe that the Digital Humanities is something that could be used in the beginning of the process of understanding literature to expose readers to various idea’s. The Digital Humanities is useful in brain storming, and is like putting food on a plate before you begin to eat it. The Digital Humanities DOES NOT substitute for traditional discussion, analyzing, and interpreting. Digital Humanities is only preparation for the full course.


Personally I like to go for the full course but maybe I should prepare first…

You can watch me as I pick up this compact mirror :-)
Posted on September 21st, 2011 at 6:51 pm by Jessica Danielle Powell and

Well, the last two Wednesdays have been interesting. One learning goal that I see that we are addressing is
“Understand[ing] the conventions of and appreciat[ing] the skills required for the English major.”

The article assignment today really gave me a look into what I believe is required for the English major and what exactly I think it is. Professor F. comments showed me the skills I may have and those I need to develop in order to fulfill the requirements of an English major. I really enjoy Web Wed. overall and they seem to get more and more challenging as the class progresses BUT that’s how we will ALL build our character!

Just reflecting…

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