A Comparative Analysis, Research Paper

A Comparative Analysis, Research Paper

Length: 6 -8pages: a discussion of one (or more, related aspects) in two literary works that contribute to the message your essay conveys; the works analyzed, as in the case of your first assignment, the selected works should be written within the era studied (1900-1945; they should not be listed on the syllabus); it also needs to include at least 5 critical articles/secondary sources (in addition to the primary works analyzed)

· The sources need to be cited and documented following MLA style (in case you’d rather use the documentation style of your chosen discipline,include a copy /sample of the documentation style; non-inclusion of the sample of the style other than MLA will result in lowering of the grade for the paper).

· You can use some of the reading material that you discussed in your first essay; however, you should discuss the material from an entirely different point of view. Otherwise, Turnitin will categorize it as plagiarism. 

· Special assignment: Since our reading materials refer to the modern era (i.e., early 20th century), in order to help you understand the era framed by two World Wars and, particularly, to remember the atrocities committed by the Nazis in World War II, I encourage you to visit St. Petersburg Holocaust Museum and write an analytic/reflective paper the Holocaust and its significance. Your discussion point of view can correspond with the discipline of your major (for instance, it could be a psychological or social analysis of the Holocaust; the psychological trauma of the survivors; analysis of the Holocaust through art, literature etc.). The essay should follow essay guidelines posted on (on the Assignments’ page) and should include additional research (the same number as your second paper). This essay, 6-8 pages or longer, with secondary sources, can substitute your second analysis and should be submitted on the due day of your comparative analysis.

· Please include the  Reflection HYPERLINK “https://usflearn.instructure.com/courses/1278006/files/67028766/download” \o “Preview the document” .


1. Your reflections could be in a form of diary entries (of sort). Give title to each project preceded by your Reflection.

2. Discuss what was your PURPOSE for each assignment.

3. What STYLE (choice of approach theoretical/critical approach you selected) and FORMAT did you use (an analysis, comparative analysis and what did you learn from working on the assignment?

4 Indicate which Student Learning Outcome the assignment helped you to achieve (see the syllabus for the list of Student Learning Outcomes for the course—general ones and course specific and the assignment description).

5. How did the assignment help you to achieve the Student Learning Outcome(s)? Be specific in your response.

6. What challenges did you encounter with each assignment? How did you overcome your weaknesses?

7. What did you learn about yourself as a writer in the academic world?


· Y. Akiko, “I Beg You, Brother: Do Not Die” (p. 385)

· R. Brooke, “Peace” (p. 387)

· “The Soldier”(p.388)

· W. Owen, “Anthem for Doomed Youth” (p. 388)

· “Strange Meeting” (p. 389)

· “Dulce et Decorum Est” (p. 390)

· Z. Herbert, “Report from Besieged City” (p. 412)

· P. Celan, “Death Fugue” (p. 410)

· Yehuda Amichai, “Seven Laments for the War-Dead“ (pp. 428-31)

· “Little Ruth“ (pp. 431-2)

· F. Tomaso Marinetti, “The Foundation and Manifesto of Futurism” (pp. 21-25)

· T. Tzara, “Unpretentious Proclamation” (pp. 26-27)

· A. Breton, “The Surrealist Manifesto” (pp. 28-32)

· “The Declaration of January 27, 1925” (pp. 32-33)

· M. Loy, “Feminist Manifesto” (pp. 34-36)

· “The Imagist Manifesto”: Page 1 JPG & Page 2 JPG

· From Longman:

· C. McKay, “The Tropics of New York” (p. 240)

· “Outcast” (p. 241)

· F. Garcia Lorca, “ Unsleeping City” (p. 242)

· From Modernist Poetry (handout, Supplemental Lecture Material):

· E. Pound “In a Station of a Metro”

· W. Carlos Williams, “The Red Wheelbarrow”

· T.S. Eliot, “The Love Song of J. Alfred Prufrock” (pp.221-4)

· W.B. Yeats, “The Second Coming” (p. 306)

· “Easter 1916” (p 303)

· E. Pound, “A Pact” (p.313)

· W. Stevens, “Anecdote of the Jar“ (p. 321)

· “Of Modern Poetry” (p. 322)

· “Of Mere Being” (p. 322)

· A Akhmatova, “The Muse” (p. 290)

· “Requiem” (p. 292-298)

· J. Joyce, “Araby” (pp. 142-46)

· “The Dead” (pp. 146-71)

· V. Woolf “Mrs. Dalloway in Bond Street” (pp. 174-78)

· “The Lady in the Looking Glass: A Reflection” (pp. 179-81)

· “”A Room of One’s Own” (pp.182-206)

· F. Kafka, “The Metamorphosis“ (pp. 255-84 and Translations on p. 286)

· “Parables“ (pp. 285-6)

· Yokomitsu Riichi, “Sensation and New Sensation” (pp. 36-8)

· Akutagawa Ryunosuke, “Rashomon” (pp. 208-211)

· Akutagawa Ryunosuke, “In a Grove” (pp. 211-6)

· Mishima Yukio, “Patriotism” (pp. 392-406)

· Kawabata Yasunari,  “The Silver Fifty-Sen Pieces (PDF)” HYPERLINK “https://usflearn.instructure.com/courses/1278006/files/67028942/download” \o “Preview the document”

· Tanizaki Junichiro,  “The Tattooer (PDF)” HYPERLINK “https://usflearn.instructure.com/courses/1278006/files/69660152/download?wrap=1” \o “Preview the document”

· Hu Shi “ Some Modest Proposal for the Reform of Literature” (pp.47-54)

· Lu Xun, “A Madman’s Diary” (pp. 131-7)

· Lu Xun, “A Small Incident” (pp. 138-41)

· Mao Dun,  “Spring Silkworms (PDF)” HYPERLINK “https://usflearn.instructure.com/courses/1278006/files/67028738/download” \o “Preview the document”

· Ding Ling,  “A Certain Night (PDF)” HYPERLINK “https://usflearn.instructure.com/courses/1278006/files/67028742/download” \o “Preview the document”


R. Knopf and J. Listengarten, “Introduction” (pp.1-16). • M. Maeterlinck, Interior (pp. 17-30), “The Modern Drama” (pp.31-37).  • Read: V. Briusov, The Wayfarer (pp. 38-47), “Against Naturalism in the Theater” (pp.48-52).  • Read: “Pataphysical Theater” (pp.53-54); A. Jerry, King Ubu (pp. 55-98), “Theater Questions” (pp. 99-101).

• “Intimate Theater/ Chamber Drama” (pp.103-104);  • A. Strindberg The Ghost Sonata (pp. 105-136), from Zones of the Spirit (pp.137-143);  • “German Expressionism” (p. 183); “Modernist Consciousness and Mass Culture: Alienation in Reinhard Sorge’s Der Bettler ” (pp.184-186),  • R. Sorge, The Beggar (pp.187-235); • I. Goll, “Two Superdramas” (pp. 235-238);  • “Correspondences” (pp.144-146); W. Kandinsky, The Yellow Sound (pp.147-155), “On Stage Composition” (pp.156-162)

• “Italian Futurism” (pp.163-170);  • F. Marinetti, Feet (pp.171–172);  • U. Boccioni, Genius and Culture (pp. 173-175);  • F. Cangiullo, Detonation (p. 176);  • F. Marinetti, E. Settinelli, and B Corra “The Futurist Synthetic Theater” (pp. 177-182);

• “Dada” (p.239);  • T. Tzara, The Gas Heart (pp.240–256), • “Dada Manifesto” (pp.257-263 and handout) • “French Surrealism” (p.301);  • A. Breton, “First Surrealist Manifesto” (pp.338-3346);  • R. Vitrac, The Mysteries of Love (pp. 302-337); • G. Stein, Doctor Faustus Lights the Lights (pp. 397-424);  • “American Dada and Surrealism” (pp. 395-396);  • G. Stein, “Plays” (pp. 425-440).

• “The Theater of Pure Form” (pp.265-266);  • S. I. Witkiewicz, The Cuttlefish (pp.267-294),  • “On a New Type of Play” (pp.295-300).  • “Russian Oberiu” (pp.363-367); • A. Vvedensky, Christmas at the Ivanovs’ (pp.368-387);  • D. Kharms, A. Vvedensky and others, “The Oberiu Manifesto” (pp.389-394).

• The Theater of Cruelty” (pp. 347-351);  • A Artaud, The Spurt of Blood (pp.352-355),  • “No More Masterpieces” (pp. 356-362).

· From Longman: B. Brecht, Mother Courage and Her Children (Longman, pp. 331-82), S. Beckett, Endgame (Longman, pp. 433-69)

· From Theater of Avant-garde: “The Theater of the Absurd” (p. 441); A. Adamov, The Invasion (pp.442-471); M. Esslin “The Theater of the Absurd” (pp.472-476)

· L Pirandello,  Six Characters in Search of an Author PDF HYPERLINK “https://usflearn.instructure.com/courses/1278006/files/67028951/download” \o “Preview the document”  (watch the performance of the play, available at the library or the one uploaded for you below)


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