Showing posts with label Handouts. Show all posts
Showing posts with label Handouts. Show all posts
Monday, February 18, 2013
Writing Research Papers/ Citing Sources
Symbol, Allegory, Archetype
Symbol, Allegory, Archetype
From The Literary Apprentice http://www.cod.edu/people/faculty/fitchf/readlit/symbol1.htm
________________________________________
What are symbols? Why are they so powerful? Why do some readers relate strongly to symbols while others are reluctant to open their reading of literature to such meanings? What are the most fundamental distinctions we can make in talking about symbols in literature and what are some methods for determining if, indeed, our identifications and interpretations of symbols are warranted?
• What exactly are symbols and how do they differ from ordinary language and other figures of speech?
• How can we determine if a text invites a symbolic reading?
• How can we distinguish various types of symbols such as personal, conventional, cultural, archetypal and allegorical?
These are some of the questions we hope to answer. New readers of fiction are often thrilled by the power of symbols to point to larger meanings. In language and culture in general, when we strive to express great significance, meanings that can transcend our power to explain them in mere words, we turn to symbols.
Image vs. Symbol: In discussing fiction, it is best to start with symbols rather than other figures of speech though symbols are often discussed with other figures of speech. Janet Burroway again is very helpful for the clear way she distinguishes symbols from other figures of speech:
A symbol differs from metaphor and simile in that it need not contain a comparison. A symbol is an object or event that, by virtue of association, represents something more or something other than itself. (273)
She goes on to explain that although the cross, for example, can symbolize Christianity, its symbolic meaning does not arise from a comparison. The cross is "not similar to redemption" (273). If, in your personal life, a particular stuffed toy comes to symbolize your relationship with someone, it is not because the relationship is like the stuffed toy in any way, but rather because you have, for some reason, associated it with the relationship. Perhaps it was gift that came to express more than itself. Relationships often acquire such things: songs, places, rocks, anything, in fact. It becomes your personal symbol of your love because no one else is aware of its special meaning. In that sense all souvenirs aspire to be symbols of your experiences. But these things can be quite arbitrary and are associated by a mere physical presence in the relationship.
Holmon and Harmon define a symbol as "something that is itself and also stands for something else. . . . In a literary sense a symbol combines a literal and sensuous quality with an abstract or suggestive aspect." They also go on to say, "it is advisable to distinguish symbol from IMAGE, ALLEGORY, AND METAPHOR" adding two more concepts to the distinction Burroway makes. This is how they distinguish symbol from IMAGE.
If we consider an image to have a concrete referent in the objective world and to function as image when it powerfully evokes that referent, then a symbol is like an image in doing the same thing but different from it in going beyond the evoking of the objective referent by making the referent suggest a meaning beyond itself; in other words, a symbol is an image that evokes an objective, concrete reality and prompts that reality to suggest another level of meaning. (Holman and Harmon)
Without images there would be no literature at all, much less symbols. To Holman and Harmon images are either literal or figurative. The literal image calls up "a sensory representation of the literal object or sensation" while the figurative image involves us in a "turn" toward this other meaning. In "Young Goodman Brown" he takes a walk down "a dreary road, darkened by all the gloomiest trees of the forest, which barely stood aside to let the narrow path creep through, and closed immediately behind it."(8) This is an image of the path with its "trees." Does the path "turn" to another meaning? Do the trees? If so, they are symbolic.
One important idea here is that symbols begin with imagery. The reader is rarely told directly that the image also suggests another level of meaning; instead the image functions in the play of literal meanings in the narrative. Brown walks on the path. The image is particular, concrete, and sensuous. But does it have symbolic associations? Here you must make interpretive decisions. Your tendency to be willing to let an image reach beyond the literal may have as much to do with your own cognitive style as with the shape of the text.
[ ... ]
The Norton Introduction to Literature (Jerome Beaty, J. Paul Hunter. The Norton Introduction to Literature, Seventh Edition, 1999) textbook gives readers this excellent advice:
A single item, even something as traditionally fraught with meaning as a snake or a rose, becomes a symbol only when its potentially symbolic meaning is confirmed by something else in the story, just as a point needs a second point to define a line. (184-bold type is my emphasis.)
Reading for symbols then becomes a matter of connecting the dots, so to speak, to form patterns. Beaty and Hunter say that two ways that the symbol can be confirmed are through repetition and through explicit statement. Look over, for example, the titles of many of the stories you may have read. Almost always a title is an invitation to think about an image from the story in terms of symbolic meaning. A title repeats an element in the story, and it is an explicit statement by the writer of significance. So if the title names "the yellow wall-paper" we can be sure that the writer is nudging us toward a closer examination of this image for its symbolic status.
Symbol vs Allegory: The second term which Holman and Harmon distinguish the symbol from is ALLEGORY.
They distinguish the symbol from allegory this way: "In allegory the objective referent evoked is without value until it is translated into the fixed meaning that it has in its own particular structure of ideas." In allegory, it seems to me, the goal of the work is to bring the reader to that "particular structure of ideas," and, in that case, the reader who tends to read literally is likely to miss the point entirely. That is a hard thing to do, by the way, since the allegorist is usually pointing all the time to this other level of meaning. Allegory is:
A form of extended METAPHOR in which objects, persons, and actions in a NARRATIVE are equated with meanings that lie outside the NARRATIVE itself. Thus, it represents one thing in the guise of another--an abstraction in that of a concrete IMAGE. By a process of double signification, the order of words represents actions and characters, and they, in turn, represent ideas. Allegory often clarifies this process by giving patently meaningful names to persons and places. (Holman and Harman, emphasis mine)
Have you heard of John Bunyon's The Pilgrim's Progress, a Seventeenth Century work? It is probably the most famous allegory. That should give you a clue that allegories are not as popular as they once were. Perhaps you have read a work like George Orwell's Animal Farm, however, a political allegory in which animals on a farm take over and attempt an ideal state. It was also made into a movie for TV recently. Here are more definitions of allegory.
Symbol vs Archetype: As symbols attain a cultural life beyond any particular work of the imagination, they can become archetypes. Not all conventional symbols would be called archetypes. At this site, for example, we find a dictinary of symbols (Dictionary of Symbolism, Allison Protas, Geoff Brown, Jamie Smith, and Eric Jaffe (2001)
But archetypes are hypothesized as transcendent symbols. We might see Nathaniel Hawthorne's Young Goodman Brown as allegory, but also myth, and archetype. As the structure of ideas which a set of symbols in an allegory convey through characters and their narratives becomes more associated with spiritual and cosmic significance, as well as with cross cultural patterns of significance, the allegory becomes mythic and archetypal. In fact, an entire area of literary criticism tries to uncover the universal or collective unconscious patterns of symbol and allegory that lie behind all cultures' narrative and artistic production. Sometimes called Archetypal or Myth Criticism, or Jungian Criticism, it is associated with major scholars such as Carl Jung, Northrup Frye and Joseph Campbell. The famous concept of the quest or journey motif, which structures "Young Goodman Brown," is one of the major common patterns which a critic such as Joseph Campbell has traced in his famous book, The Hero with a Thousand Faces. You may want to read about one of the basic structuring stories behind YGB: The story of man's fall in the Garden of Eden. Clearly you can also read this story in Genesis, Chapters 2 and 3.
Why Will You Say That He Is Mad?
Why Will You Say That He Is Mad?: Re-examining "The Tell-Tale Heart"
Susan Amper, Bronx Community College, CUNY (Abstract)
From 1838 to 1844 Poe lived and worked in Philadelphia. "The Tell-Tale Heart" was written in Philadelphia at a time when the public was all abuzz about the issue of insanity as a defense against a charge of murder. Prior to 1835, insanity pleas had been entered only in the defense of idiots or raving maniacs. The situation changed beginning in 1835 with the publication of a book by James Cowles Prichard that popularized the notion of "moral insanity," a condition in which a person, while retaining his intellectual faculties, is nevertheless considered incapable of conducting himself with decency or propriety. The concept quickly became the focus of extensive political, social and theological debate, which filled thousands of pages of publications both serious and otherwise.
Nowhere was the controversy hotter than in the legal arena, where defenses on the grounds of "moral insanity" began leading to acquittals of violent criminals who seemed in perfect possession of their senses. Public suspicion of deception in such insanity pleas became widespread, and by 1840 trials featuring such defenses were major events, their proceedings splashed in detail across the front pages of the nation's daily newspapers. In the highly publicized trial of Singleton Mercer in Philadelphia in March, 1843, two months after Poe's story, "The Tell Tale Heart," appeared, the defense attorney himself acknowledged in his opening statement that the insanity defense had become "an object of ridicule," for having been used where no insanity existed. Poe's own knowledge and interest in the topic is beyond question: he actually reported on the case of James Wood (found not guilty of the murder of his daughter by reason of insanity) in Alexander's Weekly Messenger in April, 1840.
Philadelphia, then, and the happenings in the legal arena surely affected Poe's writing of "The Tell-Tale Heart." The story begins with a question: "Why will you say that I am mad?" Yet this question and the denial it implies have given modern readers little pause. Critical opinion is unanimous, and usually unhesitating, in pronouncing the narrator of the tale mad. On the contrary, there is much room for doubt, and I will argue that the narrator merely feigned madness to escape punishment. Such a reading finds strong support in the text, and the historical context corroborates such a reading.
Close Reading
This page is brought to you by the OWL at Purdue (http://owl.english.purdue.edu/). When printing this page, you must include the entire legal notice at bottom.
Contributors:Purdue OWL.
Summary:
This handout covers major topics relating to writing about fiction. This covers prewriting, close reading, thesis development, drafting, and common pitfalls to avoid.
(Also see the OWL handout on Writing about Literature and the OWL handout on Literary Terms.)
Writing about a story or novel can be difficult because fiction is generally very complex and usually includes several points or themes. To discover these interwoven meanings, you must read the work closely. Below are three techniques for reading fiction actively and critically. Close reading takes more time than quick, superficial reading, but doing a close reading will save you from a lot of frustration and anxiety when you begin to develop your thesis.
Close Reading a Text
Use these "tracking" methods to yield a richer understanding of the text and lay a solid ground work for your thesis.
1. Use a highlighter, but only after you've read for comprehension. The point of highlighting at this stage is to note key passages, phrases, turning points in the story.
Pitfalls:
Highlighting too much
Highlighting without notes in the margins
2. Write marginal notes in the text.
These should be questions, comments, dialogue with the text itself.
A paragraph from Doris Lessing's short story "A Woman on a Roof" serves as an example:
The second paragraph could have a note from the reader like this:
Marginal Notes Text
Why is the man annoyed by the sunbather? Is Lessing commenting on sexist attitudes? Then they saw her, between chimneys, about fifty yards away. She lay face down on a brown blanket. They could see the top part of her: black hair, aflushed solid back, arms spread out.
"She's stark naked," said Stanley, sounding annoyed.
3. Keep a notebook for freewrite summaries and response entries.
Write quickly after your reading: ask questions, attempt answers and make comments about whatever catches your attention. A good question to begin with when writing response entries is "What point does the author seem to be making?"
4. Step back.
After close reading and annotating, can you now make a statement about the story's meaning? Is the author commenting on a certain type of person or situation? What is that comment?
Avoiding Pitfalls
These four common assumptions about writing about fiction interfere with rather than help the writer. Learn to avoid them.
1. Plot Summary Syndrome
Assumes that the main task is simply recalling what happened in detail. Plot summary is just one of the requirements of writing about fiction, not the intended goal.
2. Right Answer Roulette
Assumes that writing about fiction is a "no win" game in which the student writer is forced to try to guess the RIGHT ANSWER that only the professor knows.
3. The "Everything is Subjective" Shuffle
Assumes that ANY interpretation of any literary piece is purely whimsy or personal taste. It ignores the necessity of testing each part of an interpretation against the whole text, as well as the need to validate each idea by reference to specifics from the text or quotations and discussion from the text.
4. The "How Can You Write 500 Words About One Short Story?" Blues
Assumes that writing the paper is only a way of stating the answer rather than an opportunity to explore an idea or explain what your own ideas are and why you have them. This sometimes leads to "padding," repeating the same idea in different words or worse, indiscriminate "expert" quoting: using too many quotes or quotes that are too long with little or no discussion.
Contributors:Purdue OWL.
Summary:
This handout covers major topics relating to writing about fiction. This covers prewriting, close reading, thesis development, drafting, and common pitfalls to avoid.
Developing a Thesis
1. Once you've read the story or novel closely, look back over your notes for patterns of questions or ideas that interest you. Have most of your questions been about the characters, how they develop or change?
For example:
If you are reading Conrad's The Secret Agent, do you seem to be most interested in what the author has to say about society? Choose a pattern of ideas and express it in the form of a question and an answer such as the following:
Question: What does Conrad seem to be suggesting about early 20th century London society in his novel The Secret Agent?
Answer: Conrad suggests that all classes of society are corrupt.
Pitfalls:
Choosing too many ideas.
Choosing an idea without any support.
2. Once you have some general points to focus on, write your possible ideas and answer them.
For example:
Question: How does Conrad develop the idea that all classes of society are corrupt?
Answer: He uses images of beasts and cannibalism whether he's describing socialites, policemen or secret agents.
3. To write your thesis statement, all you have to do is turn the question and answer around. You've already given the answer, now just put it in a sentence (or a couple of sentences) so that the thesis of your paper is clear.
For example:
In his novel, The Secret Agent, Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth century London society.
4. Now that you're familiar with the story or novel and have developed a thesis statement, you're ready to choose the evidence you'll use to support your thesis. There are a lot of good ways to do this, but all of them depend on a strong thesis for their direction.
For example:
Here's a student's thesis about Joseph Conrad's The Secret Agent.
In his novel, The Secret Agent, Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth century London society.
This thesis focuses on the idea of social corruption and the device of imagery. To support this thesis, you would need to find images of beasts and cannibalism within the text.
Contributors:Purdue OWL.
Summary:
This handout covers major topics relating to writing about fiction. This covers prewriting, close reading, thesis development, drafting, and common pitfalls to avoid.
Pre-Writing Activities and Drafting Your Essay
Pre-Writing Activities
1. Freewrite
Without referring to the text or your notes, write for five to ten minutes on all the images (or the device you have chosen to examine) you can recall. This will provide an initial list which will make up your body of evidence.
2. Review
Look back through the text and your notes to further identify evidence, keeping focused on the particular device you want to discuss.
3. Research
Optional: Ask your instructor about outside sources before you use them.
Once you've identified enough textual evidence to support your thesis, you may want to see what other writers have had to say about your topic. This kind of appeal to other authorities helps you back up and interpret your reading of the work.
4. Evaluate
You will probably generate more evidence than you can use. One way to decide which evidence to take and which to leave is to limit your choices to the best, most illustrative examples you can find. Focus on how the devices are used to develop major characters, major scenes, and major turning points in the work.
Drafting Your Essay
You've read and annotated the work, developed a thesis, and identified your evidence. Now you're ready to work your evidence into your draft. Here are some effective techniques.
1. Quoting
What is a quote?
Quoting involves taking a word, phrase, or passage directly from the story, novel, or critical essay and working it grammatically into your discussion. Here's an example:
In his novel, The Secret Agent, Conrad describes Verloc as "undemonstrative and burly in a fat-pig style.... " (69). The pig image suggests that Verloc is not a lean, zealous anarchist, but is actually a corrupt, complacent middle class man who is interested in preserving his comfortable status.
Notice three things about the example above:
o The passage from the novel is enclosed in quotes and the page number is indicated in parentheses. For more help see our handouts on MLA and APA.
o The passage is introduced in a coherent grammatical style; it reads like a complete, correct sentence. For more help, see our handout on using quotation marks.
o The quote is interpreted, not patched on and left for the reader to figure out what it means.
When should I quote?
o To make a particularly important point
o When a passage or point is particularly well written
o To include a particularly authoritative source
How should I quote?
o All quotes must be introduced, discussed, and woven into the text. As you revise, make sure you don't have two quotes end-to-end.
o A good rule of thumb: Don't let your quotes exceed 25% of your text.
2. Paraphrasing
What is paraphrasing?
o This is using your own words to say what the author said. To paraphrase the quote used above, you might say something like:
o Conrad describes Verloc as a big man who isn't very expressive and who looks like a pig.
When should I paraphrase?
o Paraphrasing is useful in general discussion (introduction or conclusion) or when the author's original style is hard to understand.
o Again, you would need to interpret the paraphrase just as you would a quote.
o For more help, see the OWL handout on paraphrasing.
3. Summarizing
What is summarizing?
o This is taking larger passages from the original work and summing them up in a sentence or two. To use the example above: Conrad uses pig imagery to describe Verloc's character.
When should I summarize?
o Like paraphrasing, summary is useful in general discussion which leads up to a specific point and when you want to introduce the work and present the thesis.
o For more help, see the OWL handout on Summarizing.
Copyright ©1995-2009 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use. Please report any technical problems you encounter.
Contributors:Purdue OWL.
Summary:
This handout covers major topics relating to writing about fiction. This covers prewriting, close reading, thesis development, drafting, and common pitfalls to avoid.
Close Reading a Text and Avoiding Pitfalls
(Also see the OWL handout on Writing about Literature and the OWL handout on Literary Terms.)
Writing about a story or novel can be difficult because fiction is generally very complex and usually includes several points or themes. To discover these interwoven meanings, you must read the work closely. Below are three techniques for reading fiction actively and critically. Close reading takes more time than quick, superficial reading, but doing a close reading will save you from a lot of frustration and anxiety when you begin to develop your thesis.
Close Reading a Text
Use these "tracking" methods to yield a richer understanding of the text and lay a solid ground work for your thesis.
1. Use a highlighter, but only after you've read for comprehension. The point of highlighting at this stage is to note key passages, phrases, turning points in the story.
Pitfalls:
Highlighting too much
Highlighting without notes in the margins
2. Write marginal notes in the text.
These should be questions, comments, dialogue with the text itself.
A paragraph from Doris Lessing's short story "A Woman on a Roof" serves as an example:
The second paragraph could have a note from the reader like this:
Marginal Notes Text
Why is the man annoyed by the sunbather? Is Lessing commenting on sexist attitudes? Then they saw her, between chimneys, about fifty yards away. She lay face down on a brown blanket. They could see the top part of her: black hair, aflushed solid back, arms spread out.
"She's stark naked," said Stanley, sounding annoyed.
3. Keep a notebook for freewrite summaries and response entries.
Write quickly after your reading: ask questions, attempt answers and make comments about whatever catches your attention. A good question to begin with when writing response entries is "What point does the author seem to be making?"
4. Step back.
After close reading and annotating, can you now make a statement about the story's meaning? Is the author commenting on a certain type of person or situation? What is that comment?
Avoiding Pitfalls
These four common assumptions about writing about fiction interfere with rather than help the writer. Learn to avoid them.
1. Plot Summary Syndrome
Assumes that the main task is simply recalling what happened in detail. Plot summary is just one of the requirements of writing about fiction, not the intended goal.
2. Right Answer Roulette
Assumes that writing about fiction is a "no win" game in which the student writer is forced to try to guess the RIGHT ANSWER that only the professor knows.
3. The "Everything is Subjective" Shuffle
Assumes that ANY interpretation of any literary piece is purely whimsy or personal taste. It ignores the necessity of testing each part of an interpretation against the whole text, as well as the need to validate each idea by reference to specifics from the text or quotations and discussion from the text.
4. The "How Can You Write 500 Words About One Short Story?" Blues
Assumes that writing the paper is only a way of stating the answer rather than an opportunity to explore an idea or explain what your own ideas are and why you have them. This sometimes leads to "padding," repeating the same idea in different words or worse, indiscriminate "expert" quoting: using too many quotes or quotes that are too long with little or no discussion.
Contributors:Purdue OWL.
Summary:
This handout covers major topics relating to writing about fiction. This covers prewriting, close reading, thesis development, drafting, and common pitfalls to avoid.
Developing a Thesis
1. Once you've read the story or novel closely, look back over your notes for patterns of questions or ideas that interest you. Have most of your questions been about the characters, how they develop or change?
For example:
If you are reading Conrad's The Secret Agent, do you seem to be most interested in what the author has to say about society? Choose a pattern of ideas and express it in the form of a question and an answer such as the following:
Question: What does Conrad seem to be suggesting about early 20th century London society in his novel The Secret Agent?
Answer: Conrad suggests that all classes of society are corrupt.
Pitfalls:
Choosing too many ideas.
Choosing an idea without any support.
2. Once you have some general points to focus on, write your possible ideas and answer them.
For example:
Question: How does Conrad develop the idea that all classes of society are corrupt?
Answer: He uses images of beasts and cannibalism whether he's describing socialites, policemen or secret agents.
3. To write your thesis statement, all you have to do is turn the question and answer around. You've already given the answer, now just put it in a sentence (or a couple of sentences) so that the thesis of your paper is clear.
For example:
In his novel, The Secret Agent, Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth century London society.
4. Now that you're familiar with the story or novel and have developed a thesis statement, you're ready to choose the evidence you'll use to support your thesis. There are a lot of good ways to do this, but all of them depend on a strong thesis for their direction.
For example:
Here's a student's thesis about Joseph Conrad's The Secret Agent.
In his novel, The Secret Agent, Conrad uses beast and cannibal imagery to describe the characters and their relationships to each other. This pattern of images suggests that Conrad saw corruption in every level of early twentieth century London society.
This thesis focuses on the idea of social corruption and the device of imagery. To support this thesis, you would need to find images of beasts and cannibalism within the text.
Contributors:Purdue OWL.
Summary:
This handout covers major topics relating to writing about fiction. This covers prewriting, close reading, thesis development, drafting, and common pitfalls to avoid.
Pre-Writing Activities and Drafting Your Essay
Pre-Writing Activities
1. Freewrite
Without referring to the text or your notes, write for five to ten minutes on all the images (or the device you have chosen to examine) you can recall. This will provide an initial list which will make up your body of evidence.
2. Review
Look back through the text and your notes to further identify evidence, keeping focused on the particular device you want to discuss.
3. Research
Optional: Ask your instructor about outside sources before you use them.
Once you've identified enough textual evidence to support your thesis, you may want to see what other writers have had to say about your topic. This kind of appeal to other authorities helps you back up and interpret your reading of the work.
4. Evaluate
You will probably generate more evidence than you can use. One way to decide which evidence to take and which to leave is to limit your choices to the best, most illustrative examples you can find. Focus on how the devices are used to develop major characters, major scenes, and major turning points in the work.
Drafting Your Essay
You've read and annotated the work, developed a thesis, and identified your evidence. Now you're ready to work your evidence into your draft. Here are some effective techniques.
1. Quoting
What is a quote?
Quoting involves taking a word, phrase, or passage directly from the story, novel, or critical essay and working it grammatically into your discussion. Here's an example:
In his novel, The Secret Agent, Conrad describes Verloc as "undemonstrative and burly in a fat-pig style.... " (69). The pig image suggests that Verloc is not a lean, zealous anarchist, but is actually a corrupt, complacent middle class man who is interested in preserving his comfortable status.
Notice three things about the example above:
o The passage from the novel is enclosed in quotes and the page number is indicated in parentheses. For more help see our handouts on MLA and APA.
o The passage is introduced in a coherent grammatical style; it reads like a complete, correct sentence. For more help, see our handout on using quotation marks.
o The quote is interpreted, not patched on and left for the reader to figure out what it means.
When should I quote?
o To make a particularly important point
o When a passage or point is particularly well written
o To include a particularly authoritative source
How should I quote?
o All quotes must be introduced, discussed, and woven into the text. As you revise, make sure you don't have two quotes end-to-end.
o A good rule of thumb: Don't let your quotes exceed 25% of your text.
2. Paraphrasing
What is paraphrasing?
o This is using your own words to say what the author said. To paraphrase the quote used above, you might say something like:
o Conrad describes Verloc as a big man who isn't very expressive and who looks like a pig.
When should I paraphrase?
o Paraphrasing is useful in general discussion (introduction or conclusion) or when the author's original style is hard to understand.
o Again, you would need to interpret the paraphrase just as you would a quote.
o For more help, see the OWL handout on paraphrasing.
3. Summarizing
What is summarizing?
o This is taking larger passages from the original work and summing them up in a sentence or two. To use the example above: Conrad uses pig imagery to describe Verloc's character.
When should I summarize?
o Like paraphrasing, summary is useful in general discussion which leads up to a specific point and when you want to introduce the work and present the thesis.
o For more help, see the OWL handout on Summarizing.
Copyright ©1995-2009 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use. Please report any technical problems you encounter.
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