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The Thesis
The Thesis
Desenvolvimento do Argumento
Atesecomoumplano
EnquadrandooseupapelAlmdedeclararoseuargumento,asuatesedevedaruma
indicaodosseuscomponentesespecficos.Emboranosejanecessrioquevocinclua
aessnciadecadafrasedetpicosubsequenteemsuatese,importantequeaspontas
bsicasdesuaideiaabrangentesejamabordadas.
Teseincompleta:"EmMobyDick.MelvilletornaAcabcomoumafiguradiablica"
Tesecompleta:"EmMobyDick,MelvilletornaAcabcomoumafiguradiablicaatravs
daimagemdeCristocontrastantedabaleia,mitologiabblicaomnipresenteeuma
descidapsicolgicaanlogaqueda".
Maisumanota:contrariamentecrenapopular,suatesenoprecisaserapenasuma
frase.Sevocnoconsegueconstruirumateseadequadamentecomplexasemfazeruma
corridahedionda,dequalquerforma,separea.
Aintroduo
Umavezquevoctenhadecididoqualserasuatese,vocdevepodermoldladeuma
maneiraqueforneaumaentradaefetivaemseutrabalho.Noimportaoquogrande
sejaoseuargumento,novaifazermuitobemseningumforseduzidoemllo.Asduas
funesmaisimportantesdasuaintroduososervircomoumgrabber(umaliderana
eleganteecriativaparaoquevocesttentandodizer)ecomojustificativa(uma
explicaodeporqueseuargumentomesmoimportante,emprimeirolugar).
NOresumeEmborapossaparecerfcilprepacionarsuatesecomapenasumasinopse
dostextosquevocestescrevendo,estaumamaneiraparticularmenteaborrecidade
comearumartigo.
NOcontinuereiterandosuateseSuatesedeveapareceremsuaintroduocomoo
culminardospensamentosanteriores,enoapenasemalgoquevocmencionae,em
seguida,continuesendonecessriopreencherumpargrafo.
FaaseperguntasPorquesuateserelevante?Comoestsendoprovadoimportante
paraacompreensodetextooufato?Aovincularseuargumentoaumproblemamaior,
vocdarseuargumentodeuniversalidadeeinteresse.
SejacriativoPensesobreoaspectodoseutpicoquevocachouomaisinteressantee
descubraoporqu.Useissoparatornlointeressanteparaseuleitor.
Algunsbrindes
(Asseguintessoalgumasideiasdeintroduoprembaladas.Noentanto,importante
noadotarapenasumaeuslaparacadapapel,especialmenteparaomesmoinstrutor.
Estaprticasetornartriplamuitorapidamente.)
AcotaoEncontreumacitaodeumadassuasfontesou,aindamelhor,deoutrolado,
queparecechegaraoproblemaquevocestlidando.Indiqueonoinciodasua
introduoediscutacomoissoserelacionacomoquevocesttentandoprovar.
AquestoLanceumaamplaquestodeinteresseuniversaledemonstrecomouma
possvelrespostapodeserrelacionadasuatese(Exemplo:"Oqueasmulheresquerem?"
umaquestoqueahumanidadeatormentadadesdeoinciodahistria...asobrasde
EmilyDickinsoneSylviaPlathproduzemdoisparadigmasdiferentesdeautorrealizao
feminina").
AanedotaIssofuncionaparticularmentebemparaumensaiohistrico,eaindamelhor
sevoctiveralgumahabilidadenaescritacriativa.Escolhaumincidenteespecficoque
representeoconflitosubjacentedesuapeaenarreobrevementecomoumahistria.
Expliquedepoiscomoainstnciarefleteumproblemaquevocesttentandoresolver.
Sentenas do tpico
Cada pargrafo do corpo de seu trabalho se baseia em provar um aspeto particular da sua
tese, e cada um desses aspetos deve ser cristalizado em uma forte frase tpica.
Se o seu papel for bastante curto, essas frases podem representar os principais pontos que
voc mencionou na parte do plano de sua tese, mas eles podem ser cada um aspetos mais
especficos de um desses pontos, especialmente se seu papel for mais longo.
Definindo seus tpicos - Em primeiro lugar, uma frase tpica uma anlise,
NOT summary.
Pense nisso de forma semelhante sua opinio sobre sua tese; em outras palavras, uma
interpretao original baseada na evidncia textual da sua fonte. O primeiro dos seguintes
exemplos ilustra uma declarao de fato, em vez de uma frase tpica argumentativa.
FrasedeargumentoFraca:"OLivroCincodoParasoPerdidoconcentrasenaconversa
entreAdoeoArcanjoRaphael".
FrasedeargumentoForte:"AolongodoLivroCinco,Miltonutilizaimagensde
jardinagemenutrioparatransmitirorelacionamentoamadurecidodohomemcomo
divino".
RelacionamentodetpicoscomteseSuasdeclaraesdetpicosdevemforneceruma
reaslidadeanlisepelaqualsuateseverdadeira.Noentanto,elesdevemsermais
especficosdoqueumasimplesatualizaodepartedele.
Tese:"EmJourneyThroughtheTwelveForests,DavidHabermanapreendea
peregrinaodeBanYatracomoumarealizaodaomnipresenadodeusKrishna,
atravsderealizaesseparadasdanaturezacclicadajornada,aexternalizaodo
divinoearelaoentreascetismoeprazer."
Frasedotpicoparaosegundopargrafo:"Aolongodanarrativa,arelaofsicado
peregrinocomapaisagemnaturaldeBraj,bemcomoasimagensadoradasdeKrishnae
outrasdivindades,refletemapresenadeKrishnacomoumaexternalidadeinterativa,em
vezdoocupantedeumaesferainacessvel".
Fechar leitura um termo usado para descrever como voc deveria estar usando suas
fontes. O elemento mais importante da leitura prxima o questionamento; imperativo
que voc envie ativamente o texto para desenvolver suas prprias idias para usar como
argumentos.
Se possvel, faa sua prxima leitura da segunda leitura da fonte. Se voc j leu uma vez,
voc ter uma compreenso bsica do texto, e voc pode se concentrar em um
questionamento mais intensivo.
Usemarcadorestomenotadetodosequaisquerpontosdeinteressenotexto.Sevocj
temumateseemmente,usevriascoresdiferentesdomarcador,cadaumapara
informaesrelevantesparaumargumentoseparadodoseuargumento.Issotornarsua
vidamuitomaisfcilquandovocvoltarparaintegrarsuasfontes,especialmentesevoc
tiverumaextensaquantidadedetextoparacobrir.
ProcurepadresEstejacientedetcnicasrecorrentestantoliterriasquantoretricas
queoautorusaparailustrarumconceito.Tiposespecficosdeimagens,alusoou
dilogo,queparecemsersemelhantesourelacionadosinevitavelmente,revelamuma
intenomaiorquepodeserfeitaemumargumento.
FaaperguntasNotrabalhodeexposio,perguntesecontinuamente:"Issoverdade?
Queevidnciasapoiamestaafirmao?Outrasconclusespodemserextradasdosfatos
destetexto?"Aodecidirsevocconcordaounocomosargumentosdasuafonte,voc
comearacristalizarseusargumentosmaissutis.Naliteratura,questionaopropsitodo
autoremusarestruturasnarrativasparticulares."Porqueessametforausada?Oquea
comparaosignifica?Porquensaprendemosessainformaoespecficadetal
maneira?Porqueaconfiguraosebaseoutantonessapassagem?Qualarelaoentre
configuraoepersonagem?"EscreverEstasquestesnasmargensmedidaquevoc
anda.
AcesseosdetalhesUmadastcnicasdeleituramaissofisticadasquevocpode
incorporarnoseutrabalhoumaanlisedasmltiplasconotaesdeumapalavra
especfica.Estejaatentoacadapalavraqueoautorusa.Quandovocencontraum
particularinteresse,literalmente,procurenodicionrioeconsiderecomocadadefinio
podeseraplicadaaotexto.Mesmoqueoautorousecomumadefinioliteralemmente,
vejaseasconotaesdasoutrasdefiniespodemseraplicadassuaidia(isto
particularmenteverdadeiroparaShakespeare).
ConsidereafonteemrelaoaoutrostextosSealgonotrabalholembroualgomaisque
vocleu,hpossivelmenteumaboarazo.Considerecomosuafonteumarespostaou
umacontinuaodeoutrostextos.SempreestejaolhandoosimbolismodeCristoeas
alusesmitolgicasgregas;Ambossobastantefceisdedetectarepodemser
efetivamenteanalisadosemapoiodeumainterpretaoparticular.
Umexemplo:
DoKublaKahndeColeridge:"EmXanadufezKublaKahnumdecretodedomode
prazer,ondeAlphoriosagradopercorreucavernassemmedidaparaohomem,emum
marsemsol".
Suatarefaescreversobrecomoopoemailustraopoderdacriatividadehumana.luz
disso,aquiestoalgumasperguntasparaseperguntarimediatamente:
1.
PorqueaColeridgeselecionaumalocalidadeorientaleumafigurahistricaparaabrir
seutrabalho?
2.
Qualosignificadodapalavra"prazer","semmedida","semsol"?
3.
OqueoAlpheColeridgeousacomocenrioparaopoemadele?
Responderaestasquestespodeenvolveraconsideraodadistncia,tantonotempo
comonoespao,relacionadavastidodacapacidadehumana.Voctambmpode
considerar"semmedida"e"semsol"comodescritivodetiposdeconhecimentoou
ignorncia;Aoromperomar"semsol"comasuacpula,quetipodepoderoKubla
Kahnexibindo?Umaviagemaodicionrio(ou,maisprovvel,umolharsobrea
inevitvelnotadop)fornecerainformaodequeoAlphumriomgicona
mitologia.Issolevantaaquesto,"comoumcenriofantsticoserelacionacomaviso
deColeridgedaimaginao?"
ConstruindoseuargumentoPartedois:fontesintegrantes
Osparbolosdecarneebatatasdeseucorposeroumamisturaderesumotextualesua
anlise.
Depoisdeterfeitosualeituraprximaeestruturadasuafrasetpicaparaumpargrafo,
volteeremovaosdetalhesquevocdestacou.
Aocolocaressesdetalhesemseudocumento,absolutamenteimperativoquevoc
equilibrecadaumcomSUAanlisedeseusignificado.Issopodeajudar,pelomenos,at
quevocestejaacostumadocomaidia,paramanterumarelaomental:trsfrasesde
suainterpretaoparacadadetalheconcretodotexto.
OsdetalhesconcretosParaphraseaessnciadainformaotextualrealto
CONCICTIVAMENTEquantopossvel.importanteparaoseuleitorentenderoque
vocestfalando,masapenascomoumailustraoparasuasprpriasidias.
AinterpretaoVolteparaasperguntasquevocfezdurantealeituradetalhada.Quais
respostasvocencontrouquevocpodeexplicaraqui?Comosempre,lembresedeque
umaboainterpretaoevitaresumoeopinioseusargumentosdevemseroriginais,mas
criadosapartirdeevidnciasreais.
Exemplo:"Coleridgeabreseupoemacomumadeclaraoimediatadelocalidade:"Em
Xanadu".Estainvocaodefbulafazoleitorimediatamenteconscientedadistncia,
bemcomoasconotaesmsticasdoOrientenocontextodoimperialismovitoriano.Ao
escolherumcenriocomtaisreverberaesduaisderealidadeefantasia,Coleridgecria
umapaisagemparalelasuavisodaimaginaoextensaemamplitude,mas
potentementeacessvel".
Observeaprecisodeumpequenodetalhetextualcomumpoucodeinterpretao.
FiqueatentoimagemgeralTotentadorquantopreencherespaocomqualquer
idiainteressantequevocvenha,nocoloqueumnicopensamentonapginaquevoc
nopodeserelacionardiretamentecomaprovadesuafrasetpica.
Lembrese,seupapeldeveagircomoummpetoparaumaidia,enoapenasuma
descriodesuasfontes,pormaissutisdessadescrio.
Bad Integration: Keats describes the Grecian urn as follows: "Thou still
unravish'd bride of quietness; Thou foster child of silence and slow time;
Sylvan historian who canst express; The flowery tale more sweetly than
can rhyme.".
Now that you've done some good analysis within your paragraphs, it's
necessary to examine how they fit in to the goal of your overall paper.
Make your paragraphs build off of each other - It's best to try to arrange
your paper in a manner that grows increasingly more specific. In
subsequent paragraphs, try to refer back to what you mentioned in
previous ones, and explain how your current subject extends or re-
examines it in a new light.
Transitions - In order to give your paper unity and flow, it's important to
always make smooth transitions between paragraphs. Consider the
relationship between the two paragraphs, and use it as a way of moving
from one to the other. You might address a similarity in argument, by
saying "In a similar manner...", "This argument may be allied to "subject B"
in terms of... ", "Likewise... ", or "The idea of X recurs again with respect
to... " To express a dissimilarity, you might use "In contrast...", "On the
other hand... ", or "Nevertheless".
Before putting pen to paper (or finger to keyboard) it will make your job
much easier to have an idea in mind of exactly how your paper is going to
be framed.
If you're writing on a pre-assigned topic, its nature will likely affect the way
in which your paper is structured.
The first thing to remember (which will be explored more extensively in the
thesis section) is that your paper cannot just compare the two pieces in
general, exhaustively mentioning all similarities and differences with no
specific argument.
Once you know exactly what your argument is, your structure will be
crucial to the techniques you use to make it.
The sequential method - This means discussing all of text A and then
moving on to text B.
Example: Discuss "The Rape of the Lock in terms of mock epic, with
reference to Homer's The Illiad.
In this case, the second text should be used as a continual reference point,
but should not be analyzed in and of itself.
A way to structure this sort of paper is to break down your argument with
respect to your main text into a number of points, as you normally would
with a "discuss" paper. Within each paragraph, insert segments of analysis
as to how your new arguments function within the paradigms established
by the lens text.
The Conclusion
As the very last impression your reader gets of your paper, the conclusion
is your opportunity to sell your argument once and for all. It's a place for
reflection, for looking back at the relationship between the numerous ideas
of your paper. Most importantly, however, it ought to be the site of your
most complex analysis; that which incorporates everything that's gone
before.
DON'T view it as merely an ornamental way to end your paper - its role
should be to justify your paper at the highest level.
DO analyze how your argument has changed as your paper has
progressed. If you haven't proven anything more than merely what you
mentioned in your introduction, you haven't really said anything at all.
Throughout the course of a good paper new subtleties of argument ought
to have manifested themselves, and the place to integrate all these
subtleties into a new, more powerful statement of your thesis, is right in the
conclusion.
DON'T begin your conclusion with the opener "In conclusion...". That
makes your paper awkwardly self-conscious and contrived, rather than
naturally unfolded.
DO attempt some sort of unified closure, with respect to what you set up in
the introduction. If you used one of the previously mentioned clever
introductions, make reference again to the quote, questions, or anecdote
you incorporated.
Citations
Itsimportanttorememberthateverysinglepieceofinformationyouobtainfroma
sourcemustbecitedinyourpaper.Thisappliesnotonlytoquotes,buttoeverysingle
factyouincorporate.Thereareseveralmethodsfordoingcitations,butit'sbestjustto
chooseoneandremainconsistent.BelowaredirectionsfordoingcitationsintheMLA
style,oneofthemostwidelyrecognizedformats.
Bibliography
Thefirststepistomakeabibliography,inclusiveofallworksyou'vecitedinyourpaper.
Whatfollowsisalistofproperformsforvarioustypesofsources.
Book
Vendler,Helen.Poems.Poets.Poetry.Cambridge:HarvardUniversityPress,1995.Ifthe
bookyouareusingisaneditionotherthanthefirst,includethisinformation(e.g."Ided.
")directlyafterthetitle.
ArticleorotherworkinaJournal
Sedgwick,Eve."SymbolismandSexualityinFaulkner."MississippiQuarterly10
(1987):6978.
Article,chapter,excerpt,orworkinaneditedcollectionoranthology
Jonson,Ben."ThoughIamYoung."TheNortonAnthologyofEnglishLiterature.6thed.
Ed.M.H.Abramsetal.NewYork:Norton,1993.12401241.
Iteminacollectionoftheauthor'sworkwithnoseparateeditor
Lawrence,D.H.TicketsPlease."InCollectedStories.London:Heinemann,1974.314
325.
Iteminacollectionoftheauthor'sworkwithnoseparateeditor
Lawrence,D.H.TicketsPlease."InCollectedStories.London:Heinemann,1974.314
325.
Articleorinterviewinamagazineornewspaper
Clift,Eleanor."Clinton'sRightTurn."NewsweekJuly1999:5556.
Articleinanencyclopediaorotherreferencework
"Aardvarks."EncyclopediaBritannica.1975.
Revieworeditorial
Leys,Simon."Balzac'sGeniusandOtherParadoxes."Rev.ofBalzac:ALife,byGraham
Robb.TheNewRepublic20December1994.267.
Preface,introduction,forward
Lewis,C.S.Preface.Phantastes.ByGeorgeMacDonald.NewYork:PenguinBooks,
1945.
Lettersorpapersfromanarchive
Reagan,Ronald.Papers.RonaldReganPresidentialLibrary,SimiValley,CA.
PersonalLetter
Sheley,ErinL.Lettertotheauthor.10January2000.
Unpublishedpaperordissertation
Borelli,Jessica."OutoftheDarkness:DreamsandtheirRelationtoChildhood
Sexuality."Diss.UniversityofCalifornia,Berkeley,1999.
Letterinapublishedcollection
Montagu,LadyMaryWortley.ToAlexanderPope."7September1718.Selected
Letters.Ed.RobertHalsband.NewYork:VikingPenguin,1986.
LegalCase
Watsonv.DunhillInc.135USPQ882dCir1967.
Bookwithanauthorandaneditor
DanteAlighieri.TheInferno.Ed.RobertPinsky.Boston:BostonUniversityPress,1996.
Bookinseveralvolumes
Keats,John.CollectedPoems.Plays,and.Letters.2vols.EdJonStallworthy.Oxford:
OxfordUniversityPress,1988.
Booksinaseries
Peterson,MargaretWallaceStevensandtheIdealistTradition.StudiesinModern
Literature24.AnnArbor:UmiResearchPress,t983.
ReprintedBook
Douglas,Frederick.NarrativeoftheLifeofFrederickDouglas.1857.NewYork:
PenguinBooks,1993.
TranslatedBook
Nietzsche,Friedrich.TheGayScience.Trans.WalterKaufman.NewYork:Vintage,
1974.86.
Work,article,information,orgraphicontheWeb
Sheley,Erin."StrangeBedfellows:ShouldtheRepublicanPartyCozyUptothe
HomosexualVote?"http://www.hcs.harvard.edu/~hprcited10January1999.
TelnetorFTPsite
"Aardvark."OxfordEnglishDictionary,2ded.1971[Onlinebook].
<telnet://UWIN.U.WASHINGTON.EDU/I/REF/OED/aardvak>.
Contributiontoalistservornewsgroup
Raner,Claude.raner@wiz.bristol.ac.uk(1995,May3).Againstguns.3May1997.
<alt.weapons.ops>.
Emailmessage
Shankar,Ganesh.gshankar@leland.stanford.edu"I'MSorry."Personalemail.23March
1999.
Classlecture,conferencepaper,speech,orperformance
Eck,Diana.LectureonShaivism.LiteratureandArtsC18,HarvardUniversity.
Cambridge,MA.14December,1999.
Personalortelephoneinterview
Engell,James.Telephoneinterview.6March1998.
Artwork,illustration,orcartoon
AlmaTadema,SirLawrence.TheRiteofSpring.J.PaulGettyMuseum,LosAngeles.
Musicalrecording,score,orlinernotes
Gerswhin,George.RhapsodyinBlue.Cond.JohnWilliams.BostonPopsOrchestra.
DeccaDM3988,1995.
Film,video,ortelevisionprogram
StoriesoftheCity.Videocassette.Dir.GregStone.Narr.PariaKooklan.Panorama
Entertainment,1999.
IntextCitations
Theeasiestwaytociteyoursourcesthroughoutyourpaperisbyusingtheparenthetical
technique.
Forahumanitiespaper,youincludethelastnameoftheauthor,andthepageinwhich
thereferencewasfound,attheendofthesentence.
Example:"TheLeviathansuggeststhatinastate(ifnature,manlooksoutonlyforhis
owninterests(Hobbes56)."
Forasocialscienceorsciencepaper,includetheauthor'slastnameandthedate.
Example:"Theregressivemotionsoftheplanetswere,foratime,explainedintermsof
epicycles(Koestler,1992).
Quotations
Whenusingdirectquotationslessthanthreelineslong,youmayintegratethemas
describedintheprevioussections.Whenusingaquotethatislongerthanthreelines
long,followtheseguidelines:
1. Skipdowntwolinesfromtherestofyouressaytobeginthequote
2. Indentalllines10spacesfromtheleftmargin
3. Singlespacethequote
4. Don'tputanindentedblockinquotationmarks
5. Indicatethespeakerandthecontextofthequotebeforeyouinsertit
6. Endthesentencedirectlybeforeitwithacolon
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