Category: English

Final Research Paper for English 101-20 points
Pick a topic that is controversial or debatable and write this paper arguing that your side is stronger. Type double spaced, with normal half to one-inch margins top and side, 1250 word minimum, but slightly longer is not only okay, but probably better; include word count on paper.
Paper must be argumentative, not informational. Must have two opposing sides to your topic. Argue more strongly for yours but be sure to have at least one source against your side. Your interviews can be either for or against you.
Give us an introduction like the ones discussed in the handout we had on introductions, conclusions and titles.
hen present thesis at the end of the introductory paragraph.
Include at least 4 outside sources in this paper with at least 1 source against your side.
The more sources the better.
Vary them, and I want to see mostly current sources, you may use a couple older ones. but generally the source material needs to be current, 2020 or 2021 (at least two of your sources).
Use Logan library data bases… such as Opposing Viewpoints, Academic Search Complete etc. or New York Times.
You may also use procon.org.
But those are the only Search Engines you may use.
Also use the writing center online if you need help with any part of the paper.
Also include two personal interviews from either family members or friends.
If you have no interviews, then you will need to have 7 outside sources.
If you have one interview, then you will need to have 6 outside sources.
Molly Vanzande
Use free at Microsoft365.com
You will need a separate title page:
Title of paper
Your name
English 101-V2
My name
Date
On first page of text, center title on top. You do not need to put a header on each page.
Just make sure each page has your last name and page number on right top corner (if not done this will affect the grade).
Be sure to include “Works Cited” page, done alphabetically and double spaced all the way through, including between entries. If your entries go more than one line, indent 5 spaces for succeeding lines (hanging indent).
The “Works Cited” will count heavily against you if not formatted correctly; be sure to have all information needed and spacing done correctly.
Use your textbook, MLA section to help you with formatting “Work Cited” page correctly.
I want you to clear your topic with me, but you are free to choose. So, choose a topic you feel very strongly about. It will make for a much more interesting paper, and give you much more incentive while doing the research.
This is a research paper and I want to see that you can do research, but I want you in this paper, I want to feel you in the work, so it should contain emotion as well as purpose.
It is due during the final examination time. And it will be your last chance to make an impress101, so make it good.
The first key element will be format. If you set it up properly, follow my directions, your title page, proper “works cited” proper in-text citations.
That will go a long way towards a good grade. You have lots of freedom in the content
paraphrased. I need to be able to tell your ideas from your source material.
Use your “Everyone’s an Author” MLA Research section and you may also find information on PurdueOwl.com
Grading will be determined on these criteria:
40 percent on strong thesis/ focus
Balance: make sure to give sources for other side Impactful persuasion showing your side is stronger.
40 percent will be in-text citations, Work Cited page, giving proper lead-in to source material smooth transitions etc.
20 percent will be grammar, punctuation, and spelling. Even if the content is excellent, the paper needs to be readable, not have the reader keep stopping to edit.
Due on Thursday, May 16 by 11:59 pm.
The earliest you may give me the final to grade will be Friday, May 10 by 11:59 pm. if you use a honest paper, even for parts of it, I will receive a zero

A fictional historical narrative which involves the women’s Seneca falls convention
It is a speech that needs a power point with up to 11 specific slides

Directions: 
https://docs.google.com/document/d/1-lCQnV4oPJJFozjofQQjqah-_WsIl116/edit?usp=sharing&ouid=109464189013038469737&rtpof=true&sd=true
Some Sources I’ve gathered:
https://docs.google.com/document/d/1JO9FzLSMFTWCDmomPbtsFlLE6qVJ5q2ftGglhegQ_NE/edit?usp=sharing
Research question: How does the racial experience of Black students at PWIs impact their educational and personal well-being, and what can be done to improve their experiences and outcomes?
My proposed topic is “How does the racial experience of Black students at PWIs impact their educational and personal well-being, and what can be done to improve their experiences?” This topic holds significance for me, as my journey as a Black hijabi at a PWI exposed me to experience things I’ve never really experienced before such as feeling isolated and feeling a lack of community. This is something new to me since coming from a diverse educational background I’ve never experienced these issues before. What excites me about this topic is the opportunity to share my personal experiences with educators, faculty and peers, allowing there to be a welcoming space for everyone Some questions I have regarding my topic that could help with further research are, How do Black students at HBCUs compare to those that attend PWIs, and are there any educational and personal differences? Does faculty play a significant role in shaping the racial experience of Black students at PWIs, and how can they support them and their needs? How does racial experience at PWIs impact one’s mental health and overall well-being, and can this relate to not having a sense of belonging? 

Choose a modern social movement (or organization that advocates for a specific social issue) and analyze the way it uses propaganda, including-but not limited to – websites, social media, memes, slogans, advertisements, commercials, and so on.
Some possible social movements include the following:
• Architects and Engineers for 9/11 Truth (non-profit education organization)
• People for the Ethical Treatment of Animals (animal rights)
• STOMP Out Bullying (anti-bullying)
• The Adbusters Media Foundation (anti-consumerism)
• Black Lives Matter (nonviolent decentralized political and social movement)
• Climate Justice Alliance (environmental justice)
• Farm-to-Table (local food movement)
• The Voluntary Human Extinction Movement (environmental movement)
• Antifa (political protest movement)
• etc.
Use information from two research sources to write two body paragraphs of 8-12 sentences (in MLA format) for the research essay topic you chose.
Begin by introducing the main idea (or topic sentence) of the paragraph.
Before quoting two quotes from each source, introduce the author(s) and the title of his/her/their work.
Note: after introducing him/her/them for the first time, simply refer to the author(s) by surname only (i.e., last name).
In each paragraph, quote and analyze TWO PASSAGES. Be sure to follow the rules of MLA format.
2. Next, on a separate page, construct an accurate work cited entry for the two articles.
Make sure the entry conforms to the rules of
MLA format, 9th edition.

1) Write an outline for your animal paper.
2) Use the attached outline as a model.
3) Please note that you cannot copy identically all of the information.

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Instructions
Goal:  A deeper understanding of the chosen topic.
Course Objective(s):
CO1: Identify historical beginnings of philosophy and contemporary positions concerning the nature of knowledge and reality
CO3: Distinguish the basic concepts of moral and political philosophy
CO4: Evaluate arguments for and against the existence of God
CO5: Evaluate various approaches to the mind-body problem
Task:
While some assignments can be a bit more creative, learning how to improve your skills with written communication is also a good thing. Toward that end, the goal here is to write a paper of between 500-750 words on one of the three options below:
Use one or more moral theories from weeks 6 and 7 to justify what you believe is the right thing to do concerning some contemporary situation.
Define and describe the theories you use.
Describe the contemporary moral situation and why it is a moral situation.
Describe how the theory provides the reasoning/justification to demonstrate your proposed solution is the best one.
You have encountered various theories of knowledge and theories of being in this course, beginning with Plato/Socrates (as well as pre-Socratics like Parmenides), Descartes and the rationalists, empiricism, and Kantian constructivism. The phenomenological method as described in Week 7 can also give us tools for a theory of knowledge. Use one or more theories from epistemology and/or metaphysics to discuss what kinds of things you can know and how you can claim to know what you know.
Define and describe the theory or theories that you use to make your claim.
Say something about the range of possible knowledge that you can legitimately claim as knowledge. That is, does it include only knowledge of what can be sensed and whatever is physical? Or can we know abstract objects like universals? Can we have knowledge of more spiritual or esoteric realities, like the soul, God, religious doctrines, etc.? 
Explain the reasons that support your viewpoint by providing arguments that are in dialogue with relevant thinkers discussed in our course.
Use one or more theories from weeks 3-5 and 8 to demonstrate humans have a purpose.
Define and describe the theory or theories you use to make your claim.
Keep in mind that the goal is to argue humans have a purpose. If you do not think we have one, consider another option.
Be sure your argument includes like-minded philosophers on the type of purpose you claim humans have.
Your paper will be written at a college level with an introduction (one that states an argumentative/interpretive thesis and that indicates what would be covered and in what order), body paragraphs, a conclusion, along with in-text citations/Works Cited page in MLA, Turabian, Chicago, or APA formatting. Remember—any resource that is listed on the Works Cited page must have an in-text citation in the paper to match or this is considered plagiarism. [Note, MLA style is preferred, but depending on your degree area, you may be more familiar with APA or one of the other styles. You can use any approved style, just be consistent.] 
You may only submit files compatible with the Turnitin system. Please do not try to submit a PDF. Please do use MS Word.
Resources:
Word is free to students – if you encounter an issue please write  for guidance
Tutor.com – information available in the syllabus
APUS Library 
Citation and Reference Style: You will follow the citation style that is common to your discipline/program (APA, Turabian, Chicago, or MLA). If you do not have a citation style, please use MLA style. OWL Purdue is a great resource for the formatting of citations and resources. 
Due on May 19, 2024 11:55 PM
Attachments

the question answered has to be 600 words. Here is lesson.Lesson: More Important Terms for Paper Two
Modernism: Western European cultural movement beginning after WWI and in full swing after WWII. Leaving agrarian life and moving into factories/industrialization, people looked to reshape the world. Overall, modernism sought to deviate from the norms of society to make things “new” and improve our way of life. We broke with traditions hoping for “progress.”
Did it work?
Reforming movements in art, architecture, music, and literature sought change through the creative process. Developments like rock-and-roll came into being.
Social/political conditions were also revamped: the economy, social stratification (women and minority groups wanted their rights), while religious faith, trust in the government or in our neighbors (the Cold War brought new fears) seemed outdated.
“The American Dream” was forever changed; “divorce” was introduced into our lexicon—no longer did we have dad at work, mom at home making the all-American apple pie, the white-picket fence, kids, and dog—none of this seemed practical. However, also consider the positives: diversity came into being, not all families fit the atypical white, American image.
Postmodernism: Where we are in time, right now. “Post” literally means “after” modernism. Largely influenced by disillusionment, postmodernism tends to refer to a cultural, intellectual, or artistic state lacking a clear central hierarchy or organizing principle and embodying both positive and negative factors: extreme complexity, contradiction, ambiguity, and diversity. It is both the experimentation and fragmentation of the human experience, due to advances in scientific knowledge, technology, or applied experimentation.
Two Views:
Without traditions like family, God, or other foundations—life is scary!
Without conforming to other’s values or dogmas, we are free to create our own values.
How do you feel about where we are now and about the future: are you glass half-empty or glass half-full? Positive ideas like inventive “creativity”, or negative ones like “violence”–would both be considered postmodern topics.
Simulacra: from the Latin simulacrum, which means “likeness” or “similarity,” is first recorded in the English language in the late 16th century, where it was used to describe a representation of another thing, such as a statue or a painting (especially of a god). By the late 19th century, it had gathered a secondary association of “inferiority”: an image without the substance or qualities of the original.
In postmodern times, we are involved with the simulacra daily: the simulation of life comes to us via our phone and computers, social media, photos and photoshop, videos and movies, recorded music, video games/VR, even in our class. 
Simulacra in Critical Theory
Plato speaks of two kinds of image-making. The first is a faithful reproduction, attempted to precisely copy the original. The second is distorted intentionally in order to make the copy appear correct to viewers.
Nietzsche suggests we rely on our senses to understand the world, but arrive at a distorted copy of reality—so, basically nothing is “Real.” Since we can only experience the world through our brain and senses, we can’t know anything outside of this. If we had the ability to step out of our brain and experience reality, what would it be like?
Postmodern French social theorist Jean Baudrillard argues that a simulacrum is not a copy of the real, but becomes truth in its own right: the hyperreal. It’s “realer” than real, and therefore it is not inferior. Baudrillard sees four levels of the hyperreal, combining both Plato and Nietzsche: (1) the perversion of reality. (2) the falsification of reality (where there is no model). (3) the basic reflection of reality. (4) the simulacrum, which “bears no relation to any reality whatsoever.” It is its own “reality.”
_________________________________________________________________________        
Know Your Author: The 19 novels Don DeLillo has written, between 1971 and 2023, have earned him a reputation as one of America’s leading contemporary writers. Literary theorists call him “the most gifted stylist in American letters today.” David Foster Wallace had described DeLillo as a “true prophet of U.S. fiction.” DeLillo’s novels debase the media and technological obsessions of America, finding a mix of modern paranoia and primitive fear at the heart of the contemporary Self, which he explores by writing about terrorism, celebrity, the media, science, and the crucial shaping events of America’s recent history. As a writer, DeLillo does not design his novels to fit into conventional mainstream fiction, but instead approaches his material indirectly, tracing disturbances in the landscape of contemporary life (in his phrase) “at the nightmare edges of collective perception.” His dark humor explores terror by writing about the comic experiences of college football players; he probes the limits of scientific certainty by writing about collections of bat droppings. At the same time, DeLillo’s belief in the power of the outsider filters down to mold the lives of his characters. Many of DeLillo’s novels are about individuals who find themselves at various power centers (whether they are sporting, scientific, or financial) but who seek the outside in a kind of voluntary exile. 
__________________________________EADINGS
[Story]
VIDEOTAPE
By Don DeLillo. Fram the Autumn issue of An-
taeus, the jOUTl’UlI’sfinal issue. DeLillo’s most re-
cent novel is Mao II; his story “Pafko at the Wall”
appeared in the October 1992 issue of Harper’s
Magazine.
Itshows a man driving a car. It is the sim-
plest sort of family video. You see a man at the
wheel of a medium Dodge.
It is just a kid aiming her camera through
the rear window of the family car at the wind-
shield of the car behind her.
You know about families and their video
cameras. You know how kids get involved,
how the camera shows them that every subject
is potentially charged, a million things they
never see with the unaided eye. They investi-
gate the meaning of inert objects and dumb
pets and they poke at family privacy. They
learn to see things twice.
It is the kid’s own privacy that is being pro-
tected here. She is twelve years old and her
name is being withheld even though she is
neither the victim nor the perpetrator of the
crime but only the means of recording it.
It shows a man in a sport shirt at the wheel
of his car. There is nothing else to see. The car
approaches briefly, then falls back.
You know how children with cameras learn
to work the exposed moments that define the
family cluster. They break every trust, spy out
the undefended space, catching Mom coming
out of the bathroom in her cumbrous robe and
turbaned towel, looking bloodless and plucked.
It is not a joke. They will shoot you sitting on
the pot if they can manage a suitable vantage.
The tape has the jostled sort of nonevent-
ness that marks the family product. Of course
the man in this case is not a member of the
family but a stranger in a car, a random fig-
ure, someone who has happened along in the
slow lane.
It shows a man in his forties wearing a pale
shirt open at the throat, the image washed by
reflections and sunglinr, with many jostled
moments.
It is not just another video homicide. It is a
homicide recorded by a child who thought she
was doing something simple and maybe
halfway clever, shooting some tape of a man
in a car.
He sees the girl and waves briefly, wagging a
hand without taking it off the wheel-an un-
derplayed reaction that makes you like him.
It is unrelenting footage that rolls on and
on. It has an aimless determination, a persis-
tence that lives outside the subject matter.
You are looking into the mind of home video.
It is innocent, it is aimless, it is determined, it
is real.
He is bald up the middle of his head, a nice
guy in his forties whose whole life seems open
to the handheld camera.
But there is also an element of suspense.
You keep on looking not because you know
something is going to happen—of course you
do know something is going to happen and
you do look for that reason but you might also
keep on looking if you came across this footage
for the first time without knowing the out-
come. There is a crude power operating here.
You keep on looking because things combine
to hold you fast-a sense of the random, the
amateurish, the accidental, the impending.
You don’t think of the tape as boring or inter-
esting. It is crude, it is blunt, it is relentless. It
is the jostled part of your mind, the film that
runs through your hotel brain under all the
thoughts you know you’re thinking.
The world is lurking in the camera, already
framed, waiting for the boy or girl who will
come along and take up the device, learn the
READINGS 15
instrument, shooting old Granddad at break-
fast, all stroked out so his nostrils gape, the
cereal spoon baby-gripped in his pale fist.
It shows a man alone in a medium Dodge. It
seems to go on forever.
There’s something about the nature of the
tape, the grain of the image, the sputtering
black-and-white tones, the starkness-you
think this is more real, truer to life than any-
thing around you. The things around you have
a rehearsed and layered and cosmetic look. The
tape is superreal, or maybe underreal is the way
you want to put it. It is what lies at the scraped
bottom of all the layers you have added. And
this is another reason why you keep on look-
ing. The tape has a searing realness.
It shows him giving an abbreviated wave,
stiff-palmed, like a signal flag at a siding.
You know how families make up games.
This is just another game in which the child
invents the rules. as she goes along. She likes
the idea of videotaping a man in his car. She
has probably never done it before and she sees
no reason to vary the format or terminate early
or pan to another car. This is her game and
she is learning it and playing it at the same
time. She feels halfway clever and inventive
and maybe slightly intrusive as well, a little bit
of brazenness that spices any game.
And you keep on looking. You look because
this is the nature of the footage, to make a
channeled path through time, to give things a
shape and a destiny.
Of course if she had panned to another car,
the right car at the precise time, she would
have caught the gunman as he fired.
The chance quality of the encounter. The
victim, the killer, and the child with a camera.
Random energies that approach a common
point. There’s something here that speaks to
you directly, saying terrible things about forces
beyond your control, lines of intersection that
cut through history and logic and every rea-
sonable layer of human expectation.
She wandered into it. The girl got lost and
wandered clear-eyed into horror. This is a chil-
dren’s story about straying too far from home.
But it isn’t the family car that serves as the in-
strument of the child’s curiosity, her inclina-
tion to explore. It is the camera that puts her
in the tale.
You know about holidays and family cele-
brations and how somebody shows up with a
camcorder and the relatives stand around and
barely react because they’re numbingly accus-
tomed to the process of being taped and
decked and shown on the VCR with the coffee
and cake.
He is hit soon after. If you’ve seen the tape
many times you know from the handwave ex-
16 HARPER’S MAGAZINE / DECEMBER 1994
actly when he will be hit. It is something, nat-
urally, that you wait for. You say to your wife,
if you’re at home and she is there, Now here is
where he gets it. You say, Janet, hurry up, this
is where it happens.
Now here is where he gets it. You see him
jolted, sort of wireshocked-then he seizes up
and falls toward the door or maybe leans or
slides into the door is the proper way to put it.
It is awful and unremarkable at the same time.
The car stays in the slow lane. It approaches
briefly, then falls back.
You don’t usually call your wife over to the
TV set. She has her programs, you have yours.
But there’s a certain urgency here. You want
her to see how it looks. The tape has been run-
ning forever and now the thing is finally going
to happen and you want her to be here when
he’s shot. .
Here it comes, all right. He is shot, head-
shot, and the camera reacts, the child reacts-
there is a jolting movement but she keeps on
taping, there is a sympathetic response, a
nerve response, her heart is beating faster but
she keeps the camera trained on the subject as
he slides into the door and even as you see him
die you’re thinking of the girl. At some level
the girl has to be present here, watching what
you’re watching, unprepared-the girl is seeing
this cold and you have to marvel at the fact
that she keeps the tape rolling.
It shows something awful and unaccompa-
nied. You want your wife to see it because it is
real this time, not fancy movie violence-the
realness beneath the layers of cosmetic percep-
tion. Hurry up, Janet, here it comes. He dies so
fast. There is no accompaniment of any kind. It
is very stripped. You want to tell her it is realer
than real but then she will ask what that means.
The way the camera reacts to the gunshot-
a startle reaction that brings pity and terror in-
to the frame, the girl’s own shock, the girl’s
identification with the victim.
You don’t see the blood, which is probably
trickling behind his ear and down the back of
his neck. The way his head is twisted away
from the door, the twist of the head gives you
only a partial profile and it’s the wrong side,
it’s not the side where he was hit.
And maybe you’re being a little aggressive
here, practically forcing your wife to watch.
Why? What are you telling her? Are you mak-
ing a little statement? Like I’m going to ruin
your day out of ordinary spite. Or a big state-
ment? Like this is the risk of existing. Either
way you’re rubbing her face in this tape and
you don’t know why.
It shows the car drifting toward the guard-
rail and then there’s a jostling sense of two
other lanes and part of another car, a split-sec-
“Mara Floating” and “Flying-Porter Pond,” by Andrea Genrl, on display last month at the Robin Rice Gallery in New York
City. Gentllives in New York City.
ond blur, and the tape ends here, either be-
cause the girl stopped shooting or because
some central authority, the police or the dis-
trict attorney or the TV station, decided there
was nothing else you had to see.
This is either the tenth or eleventh homi-
cide committed by the Texas Highway Killer.
The number is uncertain because the police
believe that one of the shootings may have
been a copycat crime.
And there is something about videotape,
isn’t there, and this particular kind of serial
crime? This is a crime designed for random
taping and immediate playing. You sit there
and wonder if this kind of crime became more
possible when the means of taping and playing
an event-playing it immediately after the
taping-became part of the culture. The prin-
cipal doesn’t necessarily commit the sequence
of crimes in order to see them taped and
played. He commits the crimes as if they were
a form of taped-and-played event. The crimes
are inseparable from the idea of taping and
playing. You sit there thinking that this is a
crime that has found its medium, or vice ver-
sa-cheap mass production, the sequence of
repeated images and victims, stark and glary
and more or less unremarkable.
It shows very little in the end. It is a famous
murder because it is on tape and because the
murderer has done it many times and because
the crime was recorded by a child. So the child
is involved, the Video Kid as she is sometimes
called because they have to call her some-
thing. The tape is famous and so is she. She is
famous in the modem manner of people whose
names are strategically withheld. They are fa-
mous without names or faces, spirits living
apart from their bodies, the victims and wit-
nesses, the underage criminals, out there some-
where at the edges of perception.
Seeing someone at the moment he dies, dy-
ing unexpectedly. This is reason alone to stay
fixed to the screen. It is instructional, watch-
ing a man shot dead as he drives along on a
sunny day. It demonstrates an elemental truth,
that every breath you take has two possible
endings. And that’s another thing. There’s a
joke locked away here, a note of cruel slapstick
that you are completely willing to appreciate.
Maybe the victim’s a chump, a dope, classical-
ly unlucky. He had it coming, in a way, like an
innocent fool in a silent movie.
You don’t want Janet to give you any crap
about it’s on all the time, they show it a thou-
sand times a day. They show it because it ex-
ists, because they have to show it, because this
is why they’re out there. The horror freezes
your soul but this doesn’t mean that you want
them to stop.
The following reading is postmodern in the sense that it questions why we are so violent AND in the sense that it is itself a new art form—it does not have a traditional plot, but instead reads as if the story is unraveling like watching a video.   
Analysis Questions for: “Videotape” by DeLilloDownload “Videotape” by DeLillo
When considering dystopia, are human beings violent by “nature” or by “nurture”? Why?
DeLillo claims that no one is innocent anymore, since we are each born into postmodernism. Others believe we are born “Tabula Rasa” (blank slate). Is the little girl innocent? The narrator was shocked that she did not stop taping; why didn’t she? Would you stop recording? What did she ultimately record? 
How is this work representative of simulacra and tied to this theory? Keep in mind that the plot unravels as if we were watching it: the murder has already occurred, yet we do not learn this until later. It is also written in first, second, and third person, giving it that “watching a video” quality. In this manner, the audience may feel removed from the murder. DeLillo is posing a postmodern question here: do you feel society is disconnected, apathetic, or even nihilistic? Why, or why not? 
With the multiple shootings we now see regularly, why do you feel that the perpetrators, like the Texas Highway Killer, commit these crimes? Are you shocked by or concerned with gun violence (or have you become accustomed to it)? Is there a solution?  
What’s DeLillo’s overall argument regarding violence? What quotes can you find in the text that state this?
Personal Connection: do you feel like you personally have good control over your impulses toward anger? What advice would you give to others on how to blow off steam in a healthy manner?

I am Arguing that Covid 19 should be viewed through the Marxist perspective. We should look at this event through this lens because…
-It outlined a clear distinction between social classes during a period of crisis, in which everyone was in the same storm, but not the same boat.
– insert other ideas here
My specific angle is how social classes were shifted, how the middle class shrunk, and statistics on job losses
Sources:
—————————————————————–
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9348012/
https://www.usnews.com/news/economy/articles/2022-04-20/pew-covid-19-hurt-lower-and-middle-income-americans-the-most-as-middle-class-shrinks-over-past-50-years#:~:text=And%20a%20separate%20Pew%20report,households%20were%20considered%20middle%20class
https://www.commerce.nc.gov/blog/2022/08/09/most-workers-who-lost-their-job-during-covid-19-recession-north-carolina-were-quickly-re-employed#:~:text=North%20Carolina%20saw%20a%20record,and%20their%20pre%2Dlayoff%20employer
Here is the full assignment descriiption. I am responsible for 1 of the 5 pages so just one solid one would be great!
Essay: Examining How an Issue Is Presented in Media Texts
Write a 3-5 page argumentative essay that argues for the use of a particular critical lens to interpret an event. Your essay must include an annotated bibliography and evidence from at least five texts gathered alone or with your group members. Submit a 3-5 page shared Google Document plus a MLA Works Cited page.

MLA Guidelines:
Double-space; 12 point; Times New Roman).
Leave only one space after periods or other punctuation marks (unless otherwise prompted by your instructor).
Set the margins of your document to 1 inch on all sides.
Indent the first line of each paragraph one-half-inch from the left margin.
Create a header that numbers all pages consecutively in the upper right-hand corner, one-half inch from the top, and flush with the right margin.
Use italics throughout your essay to indicate the titles of longer works and, only when absolutely necessary, provide emphasis.
If you have any endnotes, include them on a separate page before your Works Cited page. Entitle the section Notes (centered, unformatted).
MLA Works Cited details
Easy Bib for bibliographies
Recommended Outline Format
Place your thesis statement at the beginning.
List the major points that support your thesis (including counterclaim if applicable) .
List supporting ideas or arguments for each major point.
Continue to subdivide each supporting idea until your outline is fully developed.
If you could do a short descriiption of the sources, that would be super helpful! Thank you!

In this activity, you will list and summarize sources.
Create a list that shows the 3 credible sources from your research. You will also add summaries of each source. List the title, author, website URL, and summary. In the summary, remember to include a topic sentence and all supporting details written in your own words. Each summary should be a short paragraph.
Check out this helpful video from your teacher:
Here is the format you will follow for this assignment.
1. Article Title:
Author:
URL Link: Summary:
2. Article Title:
Author:
URL Link:
Summary:
3. Article Title:
Author:
URL Link:
Summary:
Submit your assignment below.

Goal
I would like for you to look at another Career Assessment and Research tool, California Career Zone. You may have already used and seen this before, but I’d like for you to see it again. There are a lot of similarities in the various Career Assessments I have shown you in class. This is because they all point to the O*Net which is the governmental site on Careers and Occupations. The various assessments I have given you are all designed to point to this website for Career and Occupation information with different web platforms and design tools to make it easier for your to research and find information. The reason why I am having you explore a variety of tools is so you can bookmark these and go back to them again and again during your college and career journey. You get to choose which ones to explore and go back to when you are searching, deciding and gathering information. Please log into California Career Zone and take a look at these features:
Instructions
First Time User Login:
Go to https://www.cacareerzone.org/Links to an external site.
Choose Register Here! and create a FREE account (don’t pay for anything)
Create an easy to remember portfolio account
Complete the Career Assessments: Choose Create Plan
Explore this section, choose one of the goals (or explore all of these goals). Take any relevant assessments. Save your Work.
Explore the icons on the top menu (Home, Career Hub, I Want too…)
Take some assessments in the Career Hub of your choice – you may have done this in “Create Plan”.
To EXIT close the website. All of the information you have completed will be saved under your name to view profile. I recommend saving your passwords so you can go back to this web portal when you do your final Career Research paper for this class.
Returning User Login:
Go to https://www.cacareerzone.org/Links to an external site.
Choose “Sign in Here” by entering username and password
View your profile and continue
Your portfolio is yours to use and refer to while in college. There are a number of other great tools you can utilize in California Career Zone. This is a great resource to research careers and colleges. Start your Career and College exploration and return to this site often.
Submission
Write a paragraph on what you learned and how this will benefit you with your career research. Remember that you can use this as one of your sources for your final career research paper. Happy researching!