Orlando by Virginia Woolf

| June 19, 2015

Orlando by Virginia Woolf

First: this paper is a “reading” of the novel (some of the novel) and the criticism (a “reading” as well) so the paper is organized to make the “reading available” and hence useful and significant.
That said, the paper is going to have to be structured around the role of the criticism because that is where the “ideas” are as such, though we have, already have, ideas they are not located in some way of thinking which we can offer without also having to offer the support (the criticism) so start with the sense of the work as a work that is “also” about the criticism.
[The place of the text needs to be understood as "work in progress” as we are just getting our bearings with this phenomenon, literature. Nevertheless, it may be necessary to have the text do a certain amount of the work to situate some "topics” that appeal as places where work can be begun.]
Then: frame the opening to at least “point" to some version of the reading being undertaken with a suggestion of the role of criticism or a deliberate invocation of one such line of thinking, a critic. That done, what follows is the presentation of the “reading” guided by the way “significance” is found, the work funnels our reading toward an appreciation of the “significance” in the novel and as such, also, in the contribution(s) of the critics.
Therefore: the paragraphs are going to be built up around the placement of either text or criticism or some combination devoted to the elaboration and explication of both the novel and the scholarship (criticism). The sequence of the paragraphs is found in the way that a line of reading (a trajectory of “reading”) is sought and created through the writing of the paper. Are there good ways of doing this, yes,… you bet there are, can they be done, not without a good deal of effort because the control of the sequence of the thinking is hard to “weave” into something that seems to make enough “sense”. This refers to the burden to manage a controlled examination of meaning and structure with an eye to "significance" while being sufficiently "thoughtful" with the materials, text and criticism woven into another "text" this paper. Some sense of this "difficulty" and its execution is there, already, in the criticism, but the sample papers would be a better guide.

So, follow these suggestions: 1. do a good deal with a small part than a superficial job that goes everywhere but says very little 2. Have a plan for the sequence of points, which comes from the “reading” of the criticism 3. Find the “best” parts of the novel that will embody these thoughts and make good use of the text in the paper 4. Do not under threat of humiliation and possible “low grade” quote from the criticism without providing an explanation/translation/explication… 5. Accept that not everything that should be examined can find its way into this paper, but enough will be there to signal the intent to be sufficiently thoughtful.
Write the paper and then work as hard as you can to bring it into shape through revision and “polishing” which is devoted to concentrating the thinking. With so much available, some of which can be very difficult to control, strive for a controlled presentation anchored in careful reading of text and criticism. Finally, the “performance” of the work, the novel, must be given a place in the paper, completing the effort to be thorough.
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