Research Paper Thesis, Outline, Draft, and Bibliography (Required)

Research Paper Thesis, Outline, Draft, and Bibliography (Required)

Upon successful completion of this module, you will be able to:
Demonstrate a basic understanding of the conventions of classical drama.
Identify and define various types of drama.
Examine drama to derive meaning or theme(s).
Evaluate the literary merits of classical Greek drama, such as Oedipus.

As part of your assigned reading this module/week, you will read either the play Oedipus Rex or the play Othello, the Moor of Venice. You can choose which play you would like to read. Before reading these chapters, you need to read the Research Paper Instructions so that you can review the specific writing prompts for each play. Reading the writing prompts before reading the play is an important step because it will help you to focus on specific elements of the play as you read. There is also a writing prompt for the play Everyman, which is required reading for next module/week. If you would like to write on this play, you may want to read it this module/week so you can begin your research in advance.
Please Note: Although you have the option of reading and focusing your research paper on just one play, be sure to watch all the Drama Unit Presentations and review all the Lesson Outlines, since most of your Test 3 questions come from these two sources.

Research Paper You must complete the required textbook readings in preparation for the Research Paper. This will equip you to objectively respond to the readings by compiling information from a variety of sources in order to compose a persuasive analysis of a literary work. You will also learn to follow standard usage in English grammar and sentence structure; proceed independently through the various stages of research and integrate sources accurately and effectively; identify the theme and structure of each literary selection as well as the significant characteristics or elements of each genre studied; and evaluate the literary merit of a work (Syllabus MLOs: A, B, C, D, E, F, G and Module/Week 8 LOs: 1, 2).
In Module/Week 7, you will write a 1,500-word (approximately 5 pages) paper that addresses 1of the plays from the Drama Unit. At least 6 citations, including the primary source and at least 5 secondary, scholarly sources, are required for this assignment. Before you begin writing the paper, carefully read the below guidelines for developing your paper topic. Review the Research Paper Grading Rubric to see how your submission will be graded. Gather all of your information, plan the direction of your paper, organize your ideas by developing a 1-page thesis statement andoutline, draft your paper, and compile sources used. Format the thesis/outline, draft, and works cited/references/bibliography using current MLA, APA, or Turabian style, (whichever corresponds to your degree program); check your Harbrace Essentials Handbook pp. 106–158 (MLA); pp. 159–192 (APA); pp. 193–220 (Turabian), and/or the link contained in the Assignment Instructions Folder, to ensure the correct citation format is used.
The final paper must include a title page, thesis statement, and outline, followed by the research paper, and your correctly documented sources page.
You must submit your thesis, outline, rough draft, and works cited/references/bibliography by 11:59 p.m. (ET) on Monday of Module/Week 6 for instructor feedback.
You must submit the Research Paper by 11:59 p.m. (ET) on Monday of Module/Week 7.
Guidelines for Developing Your Paper Topic
The “Writing about Literature” section of your Perrine’s Literature textbook (pp. 1–54) and the “Writing” section of Harbrace Essentials (pp. 1–12, 15–16, 18–21, 22–28) provide helpful pointers for writing your literary essay and for academic writing in general. Be sure that you have read this section before doing any further work for this assignment. Take particular notice of the examples of drama essays on pp. 48–54 of your Perrine’s Literature textbook.
Choose 1 (ONE) of the prompts below to address in your paper:
1. Write an essay explaining how Sophocles’ Oedipus exemplifies or refutes Aristotle’s definition of a tragic hero. Review pp. 1250–1254 and 1257–1258 in your Perrine’s Literature textbook for the background and overview of Aristotle’s concept of tragedy/the tragic hero and drama. Then, re-read Sophocles’ play, Oedipus; you may reviewadditional audio-visual resources on the play as well.
2. Discuss William Shakespeare’s Othello, the Moor of Venice as a tragedy. As defined by Aristotle, is it correct to label Othello a “tragic hero” and to classify the play as an Aristotelian tragedy? Review pp. 1250–1254 and 1257–1258 in the Perrine’s Literaturetextbook for the background and overview of Aristotle’s concept of tragedy/the tragic hero and drama. Then, re-read Shakespeare’s Othello, the Moor of Venice; you mayreview additional audio-visual resources on the play as well.
3. Discuss the author’s perception of death and the treatment of death in Everyman. Be sure to re-read the play in Module/Week 7 before you begin your essay. You may review additional audio-visual resources on the play as well.
Finding Scholarly Sources
For your papers, you are only permitted to use academic sources. Resources such as 123Essays, Spark Notes, Cliff Notes, and Masterplots (or similar resources) are not scholarly and will not be permitted in your papers. To find appropriate sources, access the Jerry Falwell Library through the Services/Support link on the course menu on Blackboard. From there, you can use the Library Research Portal to find peer-reviewed, scholarly journals. The Literature Resource Center is an excellent resource for these types of papers.
If you need additional help finding the right sources, you can contact a librarian from the Jerry Falwell Library by emailing your questions to research@liberty.edu. You are also free to visit your local library or do some research on the Internet; however, you must make sure that you have credible sources. If you are uncertain, email the source to you instructor in advance.

This part is information about this assignment. However I’m not asking for a 5 pages essay I only need the thesis outline research paper. Please no copyright on this assignment and thank you for your help.

Lecture Notes: Lesson 22
Introduction to the Study of Drama
I. One must make a special effort to visualize scenes, persons, and actions in reading drama.
A. Sometimes there are no outright descriptions, so one infers from dialogue what is to happen.
B. Picture the scene as specifically as possible—looks of characters, setting, and sound.
C. Imagine the response of spectators:
1. Where they feel the tension
2. Where they would applaud
II. Suggestions for studying narrative
A. Ask if the story represents life as it has been or is at present or if it is unrealistic.
B. A story of reality depends for its value on its validity and how much validity is in the plot.
C. Ask what its unifying purpose is.
1. Sometimes there is a moral lesson, an expression about the significance of life.
2. In plays, an author speaks this through one or more of his characters.
3. Sometimes the unifying purpose, moral, or main idea is placed in an important place, perhaps the end.
4. Does the story appear to be the work of a great or wise man who has thought deeply over life and felt it deeply?
5. Sometimes characters are in sharp contrasts to one another.
III. Characters
A. What is the function of each of the important characters, and what is the value of each in the plot?
B. What levels of characterization are there?
1. Characters may be:
a) Only names
b) Abstractions like good deeds in Everyman, the morality play
c) Stock types repeated in the drama of a period, such as the mother in melodrama or the villain in Elizabethan tragedy
d) Caricatures: characters with one superficial trait, exaggeration
e) Greatly conceived figures, with either one or two traits that are made effective by the author’s imagination
2. Are fundamental traits made effective by the vigor of the author’s imagination, or are characters well-rounded with many traits (like Shakespeare’s great characters)? Hamlet, for example, loves Ophelia, yet wants revenge.
3. Are the principle characters unchanged by the events of the plot as it develops? Or do they go from bad to worse, good to better?
4. Are the characters portrayed by direct description from the author, or are we left to infer what they are like from their words and deeds, and the attitude of other characters to them? Sometimes names are significant.
5. Do any of the characters say or do things inconsistent with what they are represented to be?
6. That they act differently from people we know proves nothing; our knowledge may be limited. It does matter whether or not the author seems to force his characters to do what they normally would not.
C. Shakespeare’s characters are highly developed.
1. Shakespeare’s characters are the most highly developed that one can find anywhere. He is known for his immortal characters. They still live today.
2. In his early plays, he developed characters mainly by having outward circumstances push them along and determine them.
3. As Shakespeare matured, he learned to develop character and outward circumstance. A good example of this is Othello, the main character in the play by Shakespeare that is found in the textbook.
a) Othello is known as honest, open, sincere, and trusting.
b) Because he is manipulated by Iago and the circumstances Iago creates for him, Othello becomes suspicious of Desdemona, his wife, also sincere and honest.
c) Othello ironically trusted Iago, his worst enemy (although that was unknown to him), more than he trusted his honest wife because of Iago’s hints, suggestions, and deceits.
e) Because of his tragic flaws—jealousy and a too trusting nature—circumstances set for Othello by Iago combine to defeat Othello. This treatment of a character is more mature than merely having him be what circumstances direct.
D. Shakespeare’s characters are influenced by Aristotle’s concept of the tragic hero.
1. Aristotle, the Greek critic, said that a tragic hero must:
a) Be a nobleman, prince, or person of high estate
b) Have a tragic flaw, a weakness in judgment
c) Fall from high to low estate
2. Othello fits all three of these requirements, having as before mentioned a too-trusting nature and also a jealous nature, both of which Iago can and does manipulate. Othello is defeated at the end of the play.
IV. Plot: What happens in the play
A. What are the principle events of the plot in chronological order?
B. Does the story begin at the beginning and proceed chronologically, or does it begin with an important action (in medias res) with earlier events told later?
C. Where in the play do you first get an idea of what causes the complication?
1. A desire of one of the characters
2. Some accounts of coming danger
D. How long does it take for the author to get to this point?
E. What forces make up the complication?
1. Different people
2. Different traits in people
3. Some force such as chance, or something in the environment
F. Where is the turning point?
1. The situation in the story where the complication begins to simplify
2. Also, the turning point is that point in a play where the whole plot turns or reverses itself. It is usually found in the middle of the play—in Shakespeare’s plays, about scene three or four in the third act. In a tragedy, things have gone well for the main characters until this turning event, which causes all to turn out badly. In a comedy, things have not gone well until this event, which turns everything to the good for the main characters.
G. Is the plot a series or a climactic plot? A series plot has several incidents happening to the same hero. In a climatic plot, each incident involves the hero until the story reaches a climax.
H. Does the action advance rapidly, or does it move slowly? If the movement is slow, what delays it?
V. Setting
A. What is the setting in time and place?
B. How is the setting made use of?
C. Common uses of the setting are:
1. As decoration – for beauty and interest of the piece
2. As the only possible setting where the events could take place
3. As an indication of the characters of the principal figures
4. As symbolism
5. As a determining influence in the story

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