Español 411 (CRN 643403) / 511 (CRN 63409)

(“Advanced Spanish”)

 

Primavera 2006; 4 créditos, sección 001                        Instructor: Dr. Oscar Fernández

Clase: martes y jueves, 1200-1350                                    Oficina: NH 451 Q

SH 211                                                                                    Correo electrónico: osf@pdx.edu

Horas de oficina:  1500-1600 & por cita                           Página del curso:  http://web.pdx.edu/~osf/

 

Descripción del curso

 

¡Bienvenidos a Español 411/511!  El énfasis del curso se concentrará en la expresión escrita del lenguaje.  A este nivel avanzado, el curso desarrollará habilidades escritas para mejor pulir la fluidez de nuestro español.  La participación en clase es imprescindible para lograr los objetivos del curso.

Para nuestros colegas que están tomando Español 511, aunque el curso y los objetivos son similares, habrá una variedad más amplia de procesos de escritura y de pedagogía para prepararlos a niveles académicos y profesionales.  Estudiantes de Español 511 crearán su propia agenda para las composiciones del trimestre.

 

Objetivos del curso

 

*Practicar formas escritas del español en una variedad de géneros y contextos.

*Proveer al estudiante con una variedad de lecturas representativas que desarrollen un nivel avanzado de español.

*Interpretar el punto de vista de una lectura y discutir polémicas relevantes.

*Interpretar y expresar una opinión, tanto oralmente como por escrito.

*Apreciar la rica variedad de culturas en el mundo hispano.

 

Textos requeridos*

 

Ayllón, Cándio, et al., eds.  Spanish Composition through Literature.  5th ed.  Upper Saddle River, New

Jersey, 2006.

Gibaldi, Joseph, ed.  MLA Handbook for Writers of Research Papers. 6th ed.  New York:  MLA, 2003.

 

*Por favor traer todos los textos cada día.  Sería una buena idea tener un diccionario de bolsillo y traerlo a

cada clase.

 

Preparación para la clase

 

Se le ofrece al estudiante la siguiente guía para establecer el mínimo de horas de estudio para este curso:

4 créditos x 2 horas de estudio por crédito = 8 horas mínimas de tarea por semana.

 

Evaluación

 

Participación: Mirar la página electrónica para más detalles. 

 

Asistencia: El estudiante es responsable de completar todas las tareas durante su ausencia.  Ausencias múltiples resultarán en un cero en participación y una F para el curso: mirar la página electrónica para más detalles, “Participación”.

 

Tardiness:  If you are late for class, please be discrete as you find your seat.

 

Composiciones: (1 composición con 2 revisiones).  El estudiante escribe una composición con dos revisiones (two drafts) durante el trimestre.  Cada composición tendrá un mínimo de 1000 palabras o por lo menos 200 líneas de texto.   Composiciones normalmente son de 3-4 páginas (excluyendo Works Cited).  Todo trabajo entregado tarde recibirá –2 puntos por día. After three working days (weekends count as two days), assignments will not be graded and will receive an automatic D.  El instructor no es responsable si el estudiante deja su composición en el casillero del departamento (office mailbox) o debajo de la puerta de mi oficina.  No se recibirán composiciones via el Internet (por favor no mandar attachments.)  El tema de las composiciones estará basado en tópicos y textos discutidos en clase.  Cada composición tiene que tener un argumento, seguir el formato del Modern Language Association (MLA) e incluír una página de “Obras citadas” en la última página del ensayo. Las composiciones no son book reports ni serán ensayos biográficos. 

 

Students must create computer back-ups of their work:  avoid computer-breakdown excuses.

 

Archiving your Work:  If applicable, student exams and quizzes will be kept for one year.  Other assignments, such as proposals, outlines and essays, will be kept for ONE term.  After time limit, all student work will be recycled.  It is the students’ responsibility to obtain their assignments before they are recycled.

 

Formato para todas las composiciones: All drafts for the composition must be handed in together and follow MLA (Modern Language Association) guidelines.  They must be numbered and stapled.  All drafts and copies for compositions must be typed using a font size 12, Times New Roman, double-spaced, in black ink, with the student's name, the composition title, the draft number, word count and the date the assignment is due on the top of the first page. Each page must have last name and page number as shown below.  Please check website for a model of how all compositions should appear.

                                                                                                                                                López 1

Juana López                         

Spanish ____. Sec. ___                     

Composición # _______   

20 de octubre (month in lower case) de 20xx

# de palabras

Masculinidad en Don Quijote de la Mancha*

 

*Do not write the word “title,” do not underline, bold, or italicize the title.  Title must summarize the thesis of your composition.  Please, no embellishments in the title (no colors, different fonts, for example).

 

Diacritics:  Students must incorporate diacritics in their textual documents.  Check web page for commands in Microsoft Word.  No se aceptarán composiciones con tildes escritas a mano.

 

¿Dónde encuentro temas para las propuestas?  Students will receive a variety of suggested research topics for each reading (see “Temas” in Reading List) throughout the term.  Students may also propose their own “tema.” Students are encouraged to select a “tema” that may be out of sequence from our reading chronology.  After each reading selection our textbook provides a section called “Temas a escoger”; an answer to any of those questions can be the foundation for your essay.  All students will write a proposal before each composition.

 

¿Dónde puedo encontrar recursos secundarios para mis composiciones?  Hay que usar recursos usando el banco de datos de nuestra biblioteca.  OJO:  Búsquedas en “Goggle” no serán aceptadas.

 

Formato y elementos requeridos para propuesta no. 1:

 

Juana López                         

Spanish ____. Sec. ___                     

Propuesta # _____             

20 de febrero (month in lower case) de 20xx.

 

 

INSERT TITLE HERE: Incluir un título que describa el argumento principal

 

In essay and in third-person format, answer the following questions.  Do not individually answer each question in question/answer format.  Instead, your proposal, like your paper, needs to have an introduction, a thesis, presentation of primary and secondary sources, and a conclusion:

 

1.       What is the question you want to answer as it relates to the primary text (s)?  What have others (critics, authors, the textbook, for example) written about your problem/case?

2.       What primary sources (novels, poems, plays, for example) will help you answer your question?  Give at least one example of how the selected primary sources answer this question.

3.       What secondary sources (works of criticism, for example) will help you support your answers?  Give at least one example of how your secondary sources help answer this question.

4.       In short, what is your argument (your thesis)?

5.       What preliminary conclusions do you have at this time?  [Think if your case/problem connects with broader problems in literary studies, in culture and the arts, in society?]

6.       In a separate page and with the title of Obras citadas, write in alphabetical order the list of texts you will use in your composition using MLA conventions.  This page can be written entirely in English. 

 

Correo electrónico: Para recibir una respuesta usando el correo electrónico, por favor reservar por lo menos 48 horas de lunes a viernes.  Preguntas antes del día de asignaturas (o pruebas) no serán respondidas. Todo estudiante debe usar su propio correo electrónico:  para asegurar la privacidad de todos los estudiantes, el instructor sólo responderá a correos electrónicos que  provienen de la cuenta del estudiante.  Para mantenernos en mejor comunicación es necesario usar el siguiente formato en el subject heading del correo electrónico:

 

Subject:  Class/Section/Student’s name/Summary of Query

Subject:  Span ___/Sec 001/Juana López/¿Qué es “wc” en mi ensayo?

 

Donde localizar las notas: Todo trabajo será entregado durante el período de clase.  Normalmente no se darán notas por medio del Internet o por teléfono.  Las notas también no se pondrán afuera de la oficina.  Es la responsabilidad del estudiante de estar pendiente de su nota durante el trimestre y de reunirse con el instructor cuando hay preguntas.  El instructor no dará estimaciones de la nota durante el período de clase.  Si hay preguntas sobre la nota de una asignatura, el estudiante debe hacer una cita con el instructor.

 

Página electrónica: Es la responsabilidad del estudiante de mirar la página electrónica ya que esta tendrá las noticias más recientes (updates) sobre el curso.

 

Como calcular la nota

 

Examen no. 1                                                         15

Examen no. 2                                                         15

Propuestas no. 1                                                  5

Library Research Quiz                                       5

Composición no. 1                                               20

Revisión de composición no. 1                          20

Participación                                                         20

                                                            100

 

A             94-100

B+           87-89

C+           77-79      

D+           67-69      

F              1-59

A-           90-93      

B             84-86

C             74-76

D             64-66

 

 

B-            80-83

C-            70-73

D-            60-63

 

                                                               

 

Crédito adicional

 

No hay ningún tipo de crédito adicional en esta clase, ni durante el trimestre ni después del final del curso. 

 

Leyes universitarias

 

*Portland State University supports equal educational opportunity for all regardless of sex, race, national origin, age, marital status, handicap, religion or sexual orientation.[1]

*The following constitutes conduct as proscribed by Portland State University for which a student or student organization or group is subject to disciplinary action:  All forms of academic dishonesty, cheating, and fraud, including but not limited to: (a) plagiarism, (b) the buying and selling of course assignments and research papers, (c) performing academic assignments (including tests and examinations) for other persons, (d) unauthorized disclosure and receipt of academic information and (e) falsification of research data.[2]

*Students with disabilities need to contact the instructor as soon as possible.  The instructor will refer you to the following PSU offices for a referral indicating how we can best help you.  It is important to obtain a referral in order to best accommodate your needs:

--Learning disability screening and assessment at Counseling and Psychological Services;

--Disability Resource Center.  Academic accommodations in classroom (note-taking, interpreting).  Other accommodations as indicated through testing results.  Disability Resource Center, SMSU 435, 503-725-4150.

--Call or stop by Counseling & Psychological Services for more information, M343 SMC, 503-725-4423.[3]

 

Calendario del curso[4]

 

 

Lecturas

Tareas, exámenes, ensayos

Semana 1: 

“La siesta del martes” y Capítulo 1:  Spanish Equivalents of English “to be” (Part I)

 

martes 4 de abril

Repaso del prontuario;  leer en clase Márquez, Gabriel García (Colombia, 1928-).  “La siesta del martes” (1-5).

Temas: no. 2 (“Temas sugeridos” 16):  instead of using “you” as an example of how climate affects “you”, explain how nature and culture affect the individual (s) in this story.

Estudiar prontuario; repaso de ser/estar.

jueves 6 de abril

No hay clase.  Instructor en una conferencia en Washington, D.C.

 

Library Research Day.  Meet at Millar Library, classroom 160. 

 

If you miss this class, it is your responsibility to check library research resources, especially Millar Library’s tours:  <http://www.lib.pdx.edu/instruction/drop-in.html>; read “Research and Writing” (MLA 3-37) before coming to the library.

 

 

Library Research Day.  Students need to work on Library Research Quiz and turn it in next class period (5 pts).

 

Before coming to the library, you must have a research topic based on items 1-6 in “ENFOQUE” (23-24).

By the end of library class time, you need to be familiar with search engines for your compositions

While in the library:

*Find at least one article related to your topic.

*Find at least 3 other sources that you may use for your composition.

*Make sure you have a balance of Internet journals and library texts.

Semana 2:

Continuación de capítulo 1;

La casa de los espíritus y capítulo 2:  Spanish Equivalents of English “to be” (Part II)

 

martes 11 de abril

Estudiar “Léxico” (5-13);  estudiar “Repaso gramatical to be” (16-20);  leer “Enfoque:  Preliminary Considerations” (24-25) y presentación en clase de “Pirámide invertida”.

Completar práctica A (14-15); completar práctica A & B (21-22).

jueves 13 de abril

Allende, Isabel (Chile, 1942-). Leer La casa de los espíritus (25-29); repasar “Léxico” (30-40).

 

 

 

Temas:  no. 2 (“Temas relacionados” 43)

Completar práctica A (40-42); begin to brainstorm for your paper based on topics 1-6 in “Enfoque” (23-24).  Papers can come from any reading in our textbook.  If pre-approved, you can work on other Iberoamerican texts not included in this syllabus

Semana 3: 

Semana de investigación y de consultas

 

martes 18 de abril

Estudiar “Repaso gramatical to be” (43-49); leer “ENFOQUE: Using the Right Register” 51); leer “Thesis Statement” (MLA 49-56 o 1.8.2-1.8.4)

Completar práctica A (48-29); entregar propuesta para composición no. 1.  See page three for what questions a proposal addresses.

jueves 20 de abril

Meet in office 1200- 1350.  Leer “ENFOQUE: Selecting a Topic” (79).

Meet with instructor to review questions you have about the proposal for your paper.  Instructor will provide a sign-up and will meet individually during regular class time in NH 451 Q.  Bring specific questions.

Semana 4:

El túnel y capítulo 3:  Simple Tenses of the IndicativeMode

 

martes 25 de abril

Fuentes, Cartos.  Leer “La familia” (52-56);  repasar “Léxico” (57-67).

Temas: nos. 1-3 (“Temas relacionados”  69), no. 1 (“Temas sugeridos” 69).

Completar práctica A, 1-30 (67-68).

jueves 27 de abril

Taller de escritura

Entregar composición no. 1.  Taller de composición.  Obtener copias de worksheets en nuestra página electrónica:

*Complete “Revisión del autor” before coming to class;

*Bring “Revisión del editor colega”.

Semana 5:

Cont. de capítulo 3 y examen 1

 

martes 2 de mayo

Estudiar “Repaso gramatical” (70-77).

 

 

Completar práctica A (77).

 

 

jueves 4 de mayo

Examen 1 (capítulos 1, 2, 3)

Examen 1 (gramática y comprensión de lectura):  Bring please a pencil and a blue or black pen.

Semana 6:

La ciudad y los perros y capítulo 6:  The Subjunctive Mood (Part I)
 

martes 9 de mayo

Llosa, Mario Vargas (Perú, 1936-).  Leer La ciudad y los perros (136-139); repasar “Léxico” (139-149); antes de terminar la versión final de composición no. 1, leer “ENFOQUE:  Evaluating the First Draft” (135) y “ENFOQUE:  Revising the First Draft” (162).

Temas:  nos. 1-3 (“Temas sugeridos” 152):  Make sure you find sources that support your answer.  Do not use personal experience as the only evidence for your answer.  Interviewing a friend could count as ONE secondary source.  Still, do find published commentary on your topic.
Completar práctica A (150-52); begin to think about the types of changes you will do to first composition based on “Tips”:  Adding; Pruning; Substituting; Changes (162).

jueves 11 de mayo

Estudiar Subjunctive Mood (152-159).

Completar práctica A (160).

Semana 7:

“La rana seca” y capítulo 7:  The Subjunctive Mood (Part II)

 

martes 16 de mayo

Matute, Ana María (España,1926-).  Leer “La rama seca” (163-166); repasar “Léxico” (167-177).

Temas: no. 3 (“Temas relacionados” 178).

Completar práctica A (176-178).

jueves 18 de mayo

Estudiar Subjunctive Mood Part II (179-185)

Completar práctiva B (186);  turn-in an outline of the paper highlighting changes to your composition.

Semana 8:

“Con los ojos cerrados” y capítulo 8:  The Subjunctive Mood (Part III)

 

martes 23 de mayo

Arenas, Reinaldo (Cuba, 1943-1990).  “Con los ojos cerrados” (189-192); repasar “Léxico” (193-203); estudiar el Subjunctive Mood III (206-216); Leer “ENFOQUE: Making Comparisons and Contrasts” (275);  leer “Titles of Works in the Research Paper”  (MLA 102-109 o 3.6.1-3.6.6), leer “ Capitalization and Personal Names in Languages other than English” (122-130 o 3.8.1-3.8.5)

Temas: no. 1 (“Temas relacionados” 206) o no. 3 (“Temas sugeridos” 206).

Completar práctica A (204-205); completar práctica A (217).

 

jueves 25 de mayo

Meet in office 1200- 1350;  bring a copy of your outline

Meet with instructor to review questions you have about research outline.  Instructor will provide a sign-up and will meet individually during regular class time in NH 451 Q.  Bring specific questions

Semana 9: 

“El desengaño” y capítulo 10:  Pronouns

 

martes 30 de mayo

Ferré, Rosario (Puerto Rico, 1941-).  Leer “El desengaño” (247-251);  repasar “Léxico:  opciones” (252-262).

Temas: no. 1 o no. 3 (“Temas sugeridos” 264):  If using any of these questions, please specify  “culture” and time period.

Completar práctica A (273-274).

jueves 1 de junio

Estudiar Pronouns (264-273); leer “Writing Drafts” (MLA 57-64 o 1.9.2-1.11)

Completar práctica B (274).

Semana 10:

“La casa de Asterión” y capítulo 12:  Prepositions

 

martes 6 de junio

Borges, Jorge Luis (Argentina, 1899-1986).  Leer “La casa de Asterión” (301-303).  Repasar “Léxico”  (304-313).

Temas: no. 1 o no. 3 (“Temas relacionados” 316).

Completar práctica A (325).

jueves 8 de junio

Estudiar preposiciones (316-325).

Completar práctica A (325);

entregar revisión de composición y todas las listas de control. 

Final Exam Week

June  12-16

Final exam will be on Thursday, June 15, 1015-1205.

Examen final de gramática y comprensión de lectura (capítulos 6, 7, 8, 10, 12)

 

L.V.C.O.M. RUBRIC

EVALUATION   CRITERIA   FOR ALL COMPOSITIONS*

 Language 25%                                                                                                         

12           VERY POOR: Many errors in use and form of the grammar presented in lesson; frequent & basic errors in subject/verb agreement; non-Spanish sentence structure; erroneous use of language makes the work mostly incomprehensible; no evidence of having edited the work for language; or not enough to evaluate.

16           FAIR to POOR:  Some errors in the grammar presented in lesson; some errors in subject/verb

agreement; some errors in adjective/noun agreement; erroneous use of language often impede comprehensibility; work was poorly edited for language

21           GOOD to AVERAGE:  Few errors in the grammar presented in lesson; occasional errors in subject/verb or adjective/noun agreement; erroneous use of language does not impede comprehensibility; some editing for language evident but not complete

25           EXCELLENT to VERY GOOD: No errors in the grammar presented in lesson; very few errors in subject/verb or adjective/noun agreement; work was well edited for language

Vocabulary 20%                                                                                                                    

8               VERY POOR: Inadequate; very repetitive; incorrect use or non use of words studied; literal translations; abundance of invented words; or not enough to evaluate. Reader does not understand.

12           FAIR to POOR:  Erroneous word use or choice leads to confused or obscured meaning; some literal translation and invented words; limited use of words studied, repetitive.  Reader has many difficulties to understand.

16           GOOD to AVERAGE: Adequate but not impressive; some erroneous word usage or choice, but meaning is not confused or obscured; some use of words studied.

20            EXCELLENT to VERY GOOD: Broad; impressive; precise and effective word use and choice; extensive use of words studied.

Content (use of evidence and argumentation) 35 %

23           VERY POOR: Series of separate sentences with no transitions; disconnected ideas; no apparent order to the content; or not enough to evaluate, very repetitive. Reader gets lost.

27           FAIR to POOR: Limited order to the content; lacks logical sequencing of ideas; ineffective ordering; very choppy; disjointed; and repetitive.

31           GOOD to AVERAGE: An apparent order to the content is intended; somewhat choppy; loosely organized but main points do stand out although sequencing of ideas is not complete.

35           EXCELLENT to VERY GOOD: Logically and effectively ordered; main points and details are connected; fluent; not choppy whatsoever.

Organization 15 %                                                                                                        

6              VERY POOR: Minimal information; information lacks substance (is superficial); inappropriate or irrelevant information; or not enough information to evaluate

8              FAIR to POOR: Limited information; ideas present but not developed; lack of supporting detail or evidence.

10           GOOD to AVERAGE: Adequate information; some development of ideas; some ideas lack supporting detail or evidence.

15           EXCELLENT to VERY GOOD: Very complete information; no more can be said; thorough; relevant; on target.

Mechanisms (MLA; in-text citation) 5 %                                                                  

1              VERY POOR: no mastery of conventions, dominated by errors of spelling, punctuation, capitalization, paragraphing, handwriting illegible, or not enough to evaluate.

3              FAIR to POOR: frequent errors of spelling, punctuation, capitalization, paragraphing, poor handwriting, meaning confused but not obscured

4              GOOD to AVERAGE: occasional errors of spelling, punctuation, capitalization, paragraphing, but meaning is not obscure

5              EXCELLENT to VERY GOOD: demonstrates mastery of convention, few errors in spelling, punctuation

2 Floating points for outstanding innovative work

*f. Prof. Eva Núñez, “Rubrics.”  The Portland State University (2005). All changes mine.
Proofreading Symbols

 

 

 

 

 

Lista de errores frecuentes

 

Using uppercase in Spanish titles (only uses caps for proper names and the first word of titles)

 

 

Ethnicities/national origins are in lowercase

Spanish:  Violencia juvenil en “La sandía” de Enrique Imbert

English:  Teen Violence in Enrique Imbert’s “La sandía”

 

Spanish:  Los españoles fueron . . .  El hispano Juan Carlos . . .

English:  The Spaniards went . . . The Hispanic Carlos . . .

Upper and lower case

los Estados Unidos, EE.UU.; Obras citadas

Diacritics/tildes

*anos:  anus; años:  year

*solo: alone (estoy solo);  sólo:  only (sólo/solamente como manzanas)

*mas:  but (Iré a Europa mas tendré que recaudar más dinero); más:  more (¡Quiero más pastel!)

Anglicismos

*“factos”=hechos

*“más peor”=worse.  Use only peor (La nieve fue peor que el año pasado)

*Este papel demuestra (wrong):  essay = ensayo; papel= physical paper or role=> El papel de Superman fue dado a XY.

*Work of criticism = la crítica; a critic = el crítico Derrida (hombre) OR la crítica feminista Cixous (mujer)

*Género = gender and genre (so specify:  los papeles genéricos (gender roles)//El género literario

Numbers

50 cents in English:  .50

50 cents in Spanish:  ,50

Buck fifty in English:  1.50

Buck fifty in Spanish:  1,50

Masculine nouns, article el/los, un/unos

cuento,  poema, artículo,  trabajo, verso, párrafo, tema, argumento,  artículo  crítico,  personaje, periódico, libro, correo electrónico, crítico (the human writing criticism), problema, noción

Feminine nouns, article la/las, una/unas

novela, investigación,  composición, entrevista,  obra teatral, crítica, evidencia,  trama, revista, página electrónica, crítica (the work of crticism itself), tesis

Empty words to avoid

“cosa”; “fuerte”

Prepositions

“Don’t end sentences prepositions with”:  El estudiante argumentada clase en.

In-text Citation

(Smith 33), (“The Name of my Article in quotes” 33), (The Book Title in Underline 33) or (The Book Title in Italics 33)

Use italics when words do not have an apt translation

La teoría queer  sobre literatura . . .

Parallel verb constructions in long sentences

Wrong:  Al niño le gusta comer manzanas y le encanta comió pasteles.

Better:  Al niñó le gusta comer manzanas y le encanta comer pasteles.  Both sentences now have verb + infinitivo

When quoting secondary sources

Unless it is from a interview, avoid the “decir” (Cervantes dijo que su obra Don Quijote es muy buena) and instead use:  destacar, apuntar, argumentar, concluir, subrayar, analizar, etc.

Time to add your personal favorite errors:

 

Insert more errors on the right column you need to avoid.  See problems from work you have recently received.

 

YES, do write them.  Check this page often as you complete all your writing projects.

 

 

 

 

 

 

 

 

 

Using T.E.A. to

Build a Persuasive Paragraph*

 

A sample paragraph:

 

[1]While globalization benefits large corporations, it creates a cycle of underemployment for low wage workers.  [2]According to Bob Smith, lead economist for the Institute for Economic Advancement, “Globalization has resulted in continued corporate growth, while the adjusted wages for the average worker will continue to fall at a rate of 2.3 % per year” (Jones 26).  [3] Smith's observation shows that the economic benefits of globalization do not trickle down to the average worker.  The actual buying power of a low wage earner decreases as a result of this economic structure.

 

How to understand this persuasive paragraph using T.E.A.:

 

T....      Thesis, topic, theme: [1]

 

·       Introduce each paragraph with a topic sentence.

·       Ask yourself, “What point do I want this paragraph to prove?”

·       The topic of the paragraph should be a key point to support your thesis.

 

            Ex:       While globalization benefits large corporations, it creates a cycle of                                  underemployment for low wage workers. 

 

 

E....      Evidence:  [2]

 

·       Use examples from your research to prove the point of your paragraph.

·       Introduce the source of your evidence.

·       Use citations so the reader knows where your evidence comes from.

 

            Ex:       According to Bob Smith, lead economist for the Institute for Economic Advancement, “Globalization has resulted in continued corporate growth, while the adjusted wages for the average worker will continue to fall at a rate of 2.3 % per year” (Jones 26).

 

A.... Analysis: [3]

 

·       EXPLAIN how the evidence you used supports your topic sentence.

·       Remember—the quote or example DOES NOT speak for itself.  Your job as the writer is to draw connections for the reader.

·       Use phrases such as these: shows, this demonstrates or this is an example of...

These tells the reader you are about to draw conclusions/make connections.

·       REMAIN IN 3rd PERSON!! You can clearly express your opinion without saying “I think.”

 

            Ex:       Smith's observation shows that the economic benefits of globalization do not trickle down to the average worker.  The actual buying power of a low wage earner decreases as a result of this economic structure.

           

*f.  Julie Veltman, “History 10,” Portland, OR (2005).   Thanks to Ms. Veltman for sharing this helpful tool.  All changes mine.

Usos de puntos suspensivos [ . . .] y de [   ]

 

Ariel (1900) by José Enrique Rodó is our primary text:

Al conquistar los vuestros, debéis empezar por reconocer un primer objeto de fe, en vosotros mismos.  La juventud que vivís es una fuerza de cuya aplicación sois los obreros y un tesoro de cuya invención sois responsables (Rodó 353).

 

  1. When using ellipsis or brackets when quoting from source’s primary sentence:

 

Wrong model: En Ariel Rodó le indica a las jóvenes de naciones latinoamericanas que tienen que reconocerse como personas importantes en su historia “Al conquistar los vuestros, debéis empezar por reconocer un . . . objecto de fe  . . . en vosotros mismos” (Rodó 353).

 

Better model: En Ariel Rodó le indica a las jóvenes de naciones latinoamericanas que tienen que reconocerse como personas importantes en su historia “[a]l  conquistar los vuestros, debéis empezar por reconocer un  [. . .] objecto de fe [ . . .] en vosotros mismos” (Rodó 353).

 

OJO:  see problems with capitals, with preserving original punctuation, and with too many [ . . .] in one sentence

 

Even better model:  En Ariel Rodó le indica a las jóvenes de naciones latinoamericanas que tienen que reconocerse como personas importantes en su historia “[a]l  conquistar los vuestros, debéis empezar [. . .]  en vosotros mismos” (Rodó 353).

 

  1. When using ellipsis and/or brackets when quoting between two or more sentences from source:

 

Wrong model: En Ariel Rodó le indica a las jóvenes de naciones latinoamericanas que tienen que reconocerse como personas importantes en su historia al destacar lo siguiente: “Al conquistar los vuestros, debéis empezar por reconocer un primer objeto de fe, en vosotros mismos . . . cuya invención sois responsables” (Rodó 353).

 

Better model: En Ariel Rodó le indica a las jóvenes de naciones latinoamericanas que tienen que reconocerse como personas importantes en su historia al destacar lo siguiente: “Al conquistar los vuestros, debéis empezar por reconocer un primer objeto de fe, en vosotros mismos. [. . . ] cuya invención sois responsables” (Rodó 353).

Basic Rules

*[Brackets] means that you as a writer are inserting information that is not in the original source material.

*Preserve in your essay the meaning of the source:  avoid too many [ . . .] or brackets.

*Preserve the punctuation of source by using brackets to preserve original sentence (s).*IF ORIGINAL SOURCE has [ . . .], there is no need to use brackets.  In a parenthesis, you may want to clarify its use:   (ellipsis in original; puntos suspensivos en el original).

Checklist for Writing Papers in the Humanities

 

As you are completing your essay, please make sure you consciously perform the following tasks.  Your final grade will be based on ALL of the following components (also see “LVCOM,” our essay-evaluation rubric).  Please check each item off as your complete your essay.  OJO:  Instructor may stop reading your essay if errors that were corrected in proposals or earlier versions of the paper were repeated in your current version.  If this should occur, the essay’s grade will be based on section that was read or, if applicable, the grade will remain the same as before (for students working on revisions of their work).

 

Thesis & Title

¨ Do I have a thesis?

¨ Have I clarified my thesis?

¨ Have I placed limits to my thesis?

¨ Does the title reflect the thesis?

¨ If using works of fiction, did I mention them in my thesis statement?

¨ Please draw a box around your thesis statement.

 

Transitions between Paragraphs and Topic Sentences

¨ Did I create organic transitions between paragraphs that allow one paragraph to “flow” into another?

¨ Do my paragraphs directly relate to my thesis?

¨ Please draw a box around topic sentences.  Topic sentences are the main sentences for each paragraph.  Topic sentences are the mini-thesis for each paragraph and answer a component of your thesis.

¨ In the right margin for each paragraph and next to your topic sentence, please write the one word (in Spanish or English) that best summarizes the main idea of this topic sentence and its paragraph.

 

Citing Sources

¨ Does the essay have secondary sources?

¨ Do the secondary sources fit your thesis?

¨ For the purposes of this class, keep citations in languages other than Spanish in the original language.  In short, you do not need to translate quotes into Spanish.  Exception:  Graduate students are expected to provide published translations.

¨ In citing sources, I always introduce the source and its author:  En Abnormal Psychology, Cromer argumenta que el personaje de Othello de Shakespeare culpa a la luna por su comportamiento:  “She comes more near the earth than she was wont / And makes men mad” (666).

¨ In citations longer than five lines, I have set the quote separate from the sentence, have maintained a double space and have given proper page number: 

XXX Part of a long paragraph XXXXX René de Costa provee un resumen del estilo de Ruben Darío:

 

                                XXX Pretend that there are five lines of text and that it is double spaced.XXX

                                Y todo eso es una prosa rica y fluida, poblada de metáforas. (Huellas 325)

 

MLA convention

¨ Did I double check the Obras citadas page for MLA citation problems?

¨ Are the margins correct for this page (is there a tab in the second line, for example)?

¨ Is my last name on each page?

 

Grammar

¨ For the first five lines of your essay, please draw a box around the subject. Model:  Esta composición demuestra como Don Quijote es una crítica de las novelas de caballería.  Italics = box

¨ Please draw a circle around the main verb.  Italics = circle

Esta composición demuestra como Don Quijote es una crítica de las novelas de caballería.

¨ Did I correct all grammar problems that appeared in earlier drafts?

 


[1] Para más información, por favor leer el “Policy Statement on Rights, Freedoms and Responsibilities of Students,” <http://www.ess.pdx.edu/osa/osa_ahtm>.

[2] En “Code of Student Conduct and Responsibility,” <http://www.ess.pdx.edu/osa/osa_b.htm>.

[3] Para más información, por favor contactar el Disability Office Center, <http://caps.pdx.edu/learning_disabilities.htm#Services>.

[4] Calendario del curso puede que cambia durante el transcurso del trimestre.  Es la responsabilidad del estudiante hacer los cambios necesarios y mirar la página electrónica del curso para obtener la copia más reciente del prontuario.