Prompts for Response Paper #10

Well, there are no prompts for Response Paper #10. Simply write a decent, thesis-driven, abd documented response to Serenity. (Yes, you should have a work/works cited page.) Due in class on Tuesday, April 5. Copies due on turnitin.com before class begins.

Prompts for Response Paper #9

Prompts for Response Paper #9:

Due Tuesday, March 29 in class (and before class on turnitin.com).

You should have citations and a work/works cited entry for this paper. Be sure to demonstrate some of the moves that Harris discusses in Rewriting.

1)      This one is recycled from last time: Using what you’ve learned in Chapter 5 of Rewriting, pick one of your earlier response papers and revise it. Then, below where your revised entry ends, write at least a page explaining why you chose to make the revisions you’ve made and how they fit Harris’s definition of or strategies for revising. Hand in both the revised document and the original entry (with my marks on it). Realize that the second part of the new entry (the “what I changed and why” section) is the most important part of this prompt and should be an organized and clear mini-essay in itself.

2)      In “Asian Objects in Space,” Leigh Adams Wright argues, “This is what the world of Firefly does: it takes Asian culture (Asian cultures), takes each artifact, and strips it of its original meaning until it’s just an object…which can be used to signify something else entirely….[T]he result is entertaining but curiously empty” (31-32). She later adds, “I’m not saying that Firefly’s treatment of Asians is a major cultural crime; it’s just that I expected more” (33). Respond to Wright’s claims, not necessarily agreeing or disagreeing (although either is just fine), but certainly be sure to argue your own thesis about Firefly’s use of Asian culture.

3)      In “Objects in Space,” while holding a gun, River states, “It's just an object. It doesn't mean what you think.” Later in the episode, Early tells Simon, “People don't appreciate the substance of things. Objects in space. People miss out on what's solid.” In his article, “We’re All Just Floating in Space,” Lyle Zynda gives his own interpretation of what these lines mean—and what’s going on in this episode. In your response, give your interpretation of “Objects in Space,” being sure to discuss, at least in passing, Zynda’s analysis.

Prompts for Response Paper #8

Prompts for Response Paper #8:

Due Tuesday, March 22 in class (and before class on turnitin.com).

You should have citations and a work/works cited entry for this paper. Be sure to demonstrate some of the moves Harris discusses in Rewriting.

1)      Towards the end of “Serenity,” Shepherd Book confesses to Inara, “‘I think I’m on the wrong ship.’” She answers him, “‘Maybe. Or maybe you're exactly where you ought to be.’” Pick one of the main characters on Firefly and discuss how he or she might (or might not) be exactly where he or she should be.

2)      On the surface, Firefly appears to be a very different show from Buffy or Angel. Yet there is also something (or, more properly, many things) inherently “Whedonesque” about it. Pick a single trait, characteristic, or theme you see connecting the shows and explain that connection.

3)      Using what you’ve learned in Chapter 5 of Rewriting, pick one of your earlier response papers and revise it. Then, below where your revised entry ends, write at least a page explaining why you chose to make the revisions you’ve made and how they fit Harris’s definition of or strategies for revising. Hand in both the revised document and the original entry (with my marks on it). Realize that the second part of the new entry (the “what I changed and why” section) is the most important part of this prompt and should be an organized and clear mini-essay in itself.

Prompts for Response Paper #7

Prompts for Response Paper #7:

Due Tuesday, March 8 in class (and before class on turnitin.com).

You should have citations and a work/works cited entry for this paper. Be sure to demonstrate some of the moves Harris discusses in Chapter 4 (“Taking an Approach”) in Rewriting.  Remember that Tim Minear (not Joss Whedon) wrote this episode.

1)      This isn’t a Joss Whedon-centered prompt at all, but it’s a fun one: On page 75 of Rewriting, Harris explains a possible project (“Interpreting Cover Songs”) that examines how singers cover each others’ works. Write a response in which you complete the project that Harris describes.

2)      Using a critical article on television, complete the project Harris outlines on pages 76-77 (“Defining an Approach”). You can use an article we’ve read and discussed as a class as long as you haven’t already written extensively about it. But also feel free to find another article to use. Again, you might start with Slayage, the peer-reviewed journal, http://slayageonline.com/.

3)      Discuss the theme of betrayal and/or forgiveness in “Are You Now or Have you Ever Been.” What larger point does the episode seem to be making about these emotions/forces? (This is a very broad prompt, so be sure to be specific in your thesis/response.)

4)      Discuss the way overtones of race/racism work in this episode. (Another broad topic, so be careful—and resist clichéd answers and interpretations—unless you feel that’s what the episode is doing.)

5)      A similar prompt to #4: Discuss the impact/reasons for setting this episode in 1952. (Another broad topic, so be careful.)

6)      “Are You Now or Have You Ever Been” is considered one of Angel’s best episodes. Pick one specific aesthetic strength of the episode and analyze it. Possible topics include: music/score, the use of flashbacks and fade-ins, costuming, set design, the demon’s appearance and voice, etc.       

Prompts for Response Paper 6

Prompts for Response Paper #6:

Due Tuesday, March 1 in class (and before class on turnitin.com).

You should have citations and a work/works cited entry for this paper. Be sure to demonstrate some of the moves Harris discusses in Chapter 3 (“Countering”) in Rewriting.

1)      On page 56 of Rewriting, Harris explains a possible project (“The Tone of Countering”) that examines how writers counter the works of others. Spend some time examining a text or series of texts that engage in dialogue about a specific movie or television show (blogs, the comments section of a website, etc.) and use those observations to complete the project Harris outlines.   

2)      Thoughtfully using one of the moves in Chapter 3 of Rewriting (arguing the other side, uncovering values, or dissenting), write a response to K. Dale Koontz’s article, “The One that Almost Got Away: Doyle and the Fish Story” or any other critical article we’ve read this semester (as long as you haven’t already written about that article at length).

3)      As we’ll discuss in class, “Hero” asks viewers to consider just what it means to be a hero. In your response, discuss how you feel the episode plays with the definition of “hero.” Does it advance a new definition of “heroism,” adapt an existing definition, or some combination of both?   

4)      Thoughtfully using one of the moves in Chapter 3 of Rewriting (arguing the other side, uncovering values, or dissenting), counter the view one of your peers offers in a blog post.

Prompts for Response Paper #5

Prompts for Response Paper #5:

Due Tuesday, February 22 in class (and before class on turnitin.com).

You should have citations and a work/works cited entry for this paper. Remember our discussion in class of picking one specific and interesting point/thesis to discuss, rather than trying to cover all the bases.

1)                   In “City of,” the first episode of Angel, Doyle explains to the show’s title character, “High school’s over. You gotta make with the grown-up talk now.” You might read this as the writers’ attempts to signal that Angel, while a spin-off, is a different show from Buffy the Vampire Slayer. Based on what you saw in “City of,” discuss Angel as the “Buffy Spin-off.” You might consider how it is different to or similar to Buffy, the constraints or freedoms a spin-off has, how a spin-off tries to both keep a core audience and add to it, etc. (Wide open topic, but you must find something specific to focus on, not a whole lot of separate ideas.)  

2)                   In her article, Jessica Prata Miller explains that the larger questions of feminism and Buffy—including whether or not Buffy is a feminist role model—remain contentious. Buffy and feminism—indeed, Joss Whedon and feminism—remains a rich subject of debate. Find a text that engages in this debate—a blog post, a critical article, a review—and summarize and analyze it, giving your reader a sense how the writer engages with this complicated topic. (You might start with Slayage, the peer-reviewed journal, http://slayageonline.com/.)

3)                   In her article, Jessica Prata Miller discusses “feminist ethics” and writes the following: “I set out to address the…question of whether there is something uniquely feminine in the way Buffy’s strength and goodness are portrayed….the answer is clearly yes” (48). Respond to Miller’s claim. Go beyond whether you agree or disagree.

4)                   In “City of,” Doyle gives Angel a sort of mission statement, explaining that it’s about “saving lost souls, possibly your own.” He also tells Angel it’s a good thing to have Cordelia around as she will keep him connected to the world. Think about Jessica Prata Miller’s concept of “feminist ethics.” Can you apply it to “City of”? What are the implications of doing so?

5)                   Think about Jessica Prata Miller’s concept of “feminist ethics.” Discuss how you see that concept in play in another fictional work. But do more than simply say, “This text embodies feminist ethics.”

Prompts for Response Paper #4

Prompts for Response Paper #4:

Due Tuesday, February 15 in class (and before class on turnitin.com).

Be sure to incorporate some of the moves Harris talks about in Chapter 2 of Rewriting. You should have citations and a work/works cited entry for this paper. Remember our discussion in class of picking one specific and interesting point/thesis to discuss, rather than trying to cover all the bases.

1)      Find something that someone has written about “Once More with Feeling.” Then practice what Harris calls “forwarding.” In other words, take “words, images, or ideas” from that other text and put them “to use in new contexts” (37). You can use an online review of the episode, a published article, or a blog post. (Yes, you had this same prompt last week.)

2)      Pick one of the musical numbers or a specific scene from “Once More with Feeling” and discuss/analyze it. (Wide open prompt. Be sure not to summarize and you must make an argument beyond “I like it” or “I didn’t,” even if you include reasons for liking it or not)

3)      How is “Once More with Feeling” a “rewriting” of the traditional musical? (You should consult/use Wilcox here.)

4)      Alternatively, how is it a “rewriting” of a typical episode of Buffy the Vampire Slayer? Why do you think the writers choose to use the musical form for this episode? (You should consult/use Wilcox here.)

5)      Use some aspect of Wilcox’s analysis of “Once More with Feeling” as a springboard to a discussion of another musical (on TV or in film).

Prompts for Response Paper #3

Prompts for Response Paper #3:

Due Tuesday, February 8 in class (and before class on turnitin.com)

Be sure to incorporate some of the moves Harris talks about in Chapter 2 of Rewriting. You should have citations and a work/works cited entry for this paper.

1)      Find something that someone has written about “The Body.” Then practice what Harris calls “forwarding.” In other words, take “words, images, or ideas” from that other text and put them “to use in new contexts” (37). You can use an online review of the episode, a published article, or a blog post.

2)      Discuss the concept of “negative space” in “The Body,” specifically thinking about the art teacher’s comment that her students shouldn’t draw the body, but the space around the body. How does the episode extend/continue that metaphor in its exploration of how a death affects the group? Another approach to this topic: consider why you think this episode called “The Body.”  

3)      In her article on “The Body,” Wilcox defends a scene in the episode others have criticized—the introduction of the vampire in the morgue. Explain Wilcox’s defense of Whedon’s decision. Then explain whether or not you agree with Wilcox—and why or why not.

4)      Wilcox discusses how fantasy shows like Buffy manage to incorporate realism into their worlds. She lists several elements allow that “The Body” to balance realism and fantasy. Respond to this larger question in general, thinking about the Buffy episodes we’ve seen so far. Do you agree with Wilcox that Buffy manages to stay in the world of fantasy and yet still earn its realism? Why or why not?

5)      Discuss a work of fiction which has, in your mind, treated the subject of the death of a loved one in ways that you found effective and/or realistic. Be specific, but do more than summarize.

Prompts for Response Paper #2

Prompts for Response Paper #2:

Due Tuesday, February 1 in class (and before class on turnitin.com)

For most of these prompts, do your best to incorporate some of the moves Harris talks about in Chapter 1 of Rewriting.

1)      “Talking about communication, talking about language—not the same thing.” These words, spoken by Professor Walsh, open “Hush.” Discuss this idea, beginning with some discussion of how “Hush” illustrates (or fails to illustrate) it and then seeing where the response takes you.

2)      “Hush” was the only episode of Buffy to receive a major Emmy nomination—for writing. What do you make of this? There are lots of ways you could go here—you could talk about the Emmy’s complicated relationship with “genre” shows, what this says about TV writing (how it’s about more than just dialogue), what this says specifically about the writing in “Hush” and why it deserved praise (or didn’t), or something else. Just pick one angle and go with it.

3)      Pick one of your classmate’s blog posts and respond to it in the way that Harris writes about in Chapter 1 of Rewriting. In other words, “give the text its due and then make use of it” (15). (Wide open…)

4)      In Chapter 1 of Rewriting, Harris explains that in some ways, “we all write our own Don Quixote,” meaning that “in coming to terms with others, you also say a good deal about who you are as a writer, about your own interests and values” (15). In your response, write about your own “coming to terms” with “Hush.” In other words, pick an aspect to focus on, summarize, etc. and do something with it. (Another wide open topic.)

5)      “Hush” is one of the scariest episodes of Buffy, a show that actually isn’t scary all that often. If you agree that it is a scary episode, discuss why you feel that way. Or argue the opposite point.

Prompts for Response Paper #1

Prompts for Response Paper #1:

Due Tuesday, January 25 in class (and before class on turnitin.com)

1)      Discuss how either DeLusé’s “More Than Entertainment” or Wilcox’s “Love and Loss: It’s Not Over” demonstrate what Joseph Harris would call “rewriting.” You might consider, for instance, how either essay “rewrites” traditional academic discourse, rewrites the “Whedon-verse,” etc.

2)      Evaluate/critique either DeLusé or Wilcox’s essay. In short, make an argument about the value/merit of the essay and defend your thesis. You can focus on the entire essay or a particular section/facet you found compelling (or not at all compelling).

3)      How do the Buffy the Vampire Slayer episodes “Surprise” and “Innocence” represent their own form of rewriting?

4)      DeLusé writes about how Joss Whedon’s shows and movies have served as a sort of therapy for her. She explains, “…by unearthing hidden issues and bringing the worms into the light, we invite a phase of growth that lets us take power from the very things we once hid, or hid from. And that’s something thoughtful entertainment…can help us do if we let it in” (156). Write about a specific text (TV, book, movie) that has worked that way for you. (You do not have to be terribly confessional!)

5)      DeLusé also writes about “reflexive empathy”—how we can understand our own lives better “through carefully considering the lives of others” (158). Write about a way that a fictional character has allowed you to understand your own life better.

6)      Wilcox points out that “Surprise” and “Innocence” operate on two levels: a sort of mythic/hero level (hero on a journey loses someone she cares about) and a personal level (girl sleeps with a boy and he turns into a jerk afterwards). Talk about this trope (or tropes). (This one is wide open…)