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Tuesday, October 30, 2012

Zion National Park

So here are some pictures of Zion National Park taken by my brother and a few taken by me... sorry there are so many. I just think some of them are pretty cool. Also the ones of my brother are to show what people will do in order to get "the perfect shot." I hope he doesn't kill me if he ever finds out i posted these here, and also, hope you enjoy!!

-- Victoria





























http://youtu.be/6iG5L1AdsSk
This is a video i found as well, it is also one of my sources.


Wednesday, October 24, 2012

Joshua Tree National Park Pictures

The first image is a general map of the park, while the following three portray the physical attractions that entice visitors to the park. The symbolic Joshua trees, for which the park is aptly named, are displayed in the second picture, and the final two show the awe-inspiring rock formations that are products of years and years of erosion. As displayed by the third picture, many rock-climbers are attracted to JTNP in order to experience the sheer spirituality associated with interacting with such a  powerful landscape. 




Katie Larson

Sunday, October 21, 2012

Pictures of Yosemite, California



      Yosemite is one of the earliest national parks in the U.S.. The purpose to build the park around Sierra Nevada is for human recreation and environment reservation at the same time.  (Photos are from the official website of Yosemite: http://www.yosemite.com/explore-yosemite/photo-gallery, http://www.yosemitepark.com/)

Saturday, October 20, 2012

A Selection of Photos from Mesa Verde

These are photos of Mesa Verde National Park, primarily drawn from the park's official website. The first four show the cliff dwellings that are the park's primary attraction. The final image shows how a road that once strayed into a neighboring reservation, but which was rerouted once local Native Americans started selling souvenirs, food, and helicopter rides on the roadside.

Tuesday, October 16, 2012

Introductions Handout



Introductions: Notes and Goals


In the kind of essays we are writing in this course, your introductions must offer the following:

THESIS: a succinct statement of the central claim that the rest of the essay will explain/expand upon.

CONTEXT: a brief statement of the information that your reader needs to understand in order for your thesis to make sense.  The context should include the following:

preliminary statement or implication of the STAKES inherent in your argument/issue.  In other words, WHY should the reader care about this topic?  What will it cost her not to understand your argument?  

An indication of the state of play of the conversation about the topic of your thesis, i.e. the conventional wisdom, the conventional ignorance, or the most salient elements of the ongoing dispute.

If at all possible, your introduction should also include a HOOK, an opening sentence or two that startles or charms your reader into reading further.

You may also want to include a ROAD MAP in or near your introduction.  This series of claims will lay out HOW you will be proving your argument.  This often includes a terse statement of your primary supportive claims and especially the LOGIC of their organization.

EXAMPLE:

Stephanie Solis did not know that she was an illegal immigrant until she was eighteen.  Until then, her parents had been able to hide the fact that they had broken the law when they brought their infant daughter to the United States.  Solis’ discovery of her illegal status may be unusual, but her predicament is not.  This year alone about 70,000 undocumented students will graduate from American high schools.  Immigration excites powerful emotions on both sides of the debate; livelihoods, ways of life, and lives all seem to be at stake.  However, the very importance of the topic tends to lead people to get emotionally attached to their positions and to avoid confronting the complexities of the issue.  For example, the immigration debate in this country tends to focus on adult immigrants; it often fails to account for the millions of children brought into the country by their parents.  It is true that these children’s very presence in this country is a crime.  However, many, if not most of the children illegally in the United States came here when they were too young to have deliberately done anything wrong.  Many people oppose “rewarding” adult immigrants by giving their children citizenship.  But like it or not, those  millions of children are already here and something must be done to allow them to become fully productive residents.  Therefore, for both moral and practical reasons, Congress must pass a law creating a pathway to citizenship for all people brought to the United States before they turned eighteen.

(h/t J. Enfield)

Saturday, October 13, 2012

Annotated Bibliography Handout


The Annotated Bibliography:

It is the goal of the annotated bibliography first to establish your control over your sources and then to show me (and yourself) how you intend to employ their information.  A good annotation provides a succinct summary of the article, and it should give some insight into the articles relevance to your own agenda.  This is the first step in establishing the “because” explanation (warrant) upon which the Toulmin supportive approach turns.  The more relevant information you pack into the annotation, the more your own argument is going to take form before you start writing.  You will also find that beyond helping to sculpt the contours of your own analysis and approach, the annotated bibliography easily becomes your works cited page (bonus!).

Example:

Grant, Barry Keith (1996).  Rich and Strange: The Yuppie Horror Film [Electronic
Version].  Journal of Film and Video, Vol. 48, No. ½ (Spring-Summer 1996): pp. 4-16. URL: http://www.jstor.org/stable/20688090

Grant examines a subgenre of the contemporary horror film, the “Yuppie Horror film,” focusing on the way that this subgenre employs the same elements of traditional horror films but shifted to exploit the 1980’s-early-1990’s social and cultural preoccupation with material success.  Using a wide variety of films as his support, Grant demonstrates the way that Yuppie horror replaces monsters and the supernatural with financial horrors such as losing one’s livelihood, social standing and/or material possessions.  This essay will provide material for my analysis of the salient economic anxieties and cultural tropes that motivate the affluent villains in Bret Easton Ellis’ short stories, the Devil Wears Prada (1989) and Let Them Eat Stake (1990).