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Instructions for Sunday Morning College Essay Examples

Title: Deviance Project

Total Pages: 4 Words: 1197 Sources: 0 Citation Style: APA Document Type: Essay

Essay Instructions: Request writer Abbydee:
Here are the Instructor instructions for this paper.

Deviance Project

This exercise is a combination of experiment and observation. Select some group to which you belong (informal or formal, primary or secondary). Observe the interaction of members of the group and try to determine the underlying norms which govern group activity. Select one or more norms of the group and break them! Be a deviant!! Observe the reactions of the group members and determine whether they are using positive or negative sanctions to enforce group conformity. Did you violate a folkway or more? What key values underlying the norms are exemplified by their reactions? Under what circumstances outside of this group would the same behavior be considered ?normal?? What has this experiment demonstrated about the ?relativity of deviance?? The description of the field work should be 2 pages and the analysis should be 2 pages a total of 4 pages. Be creative and have fun, but use a degree of sensibility as well, and do not endanger yourself or others.

Please be sure to use your sociology and demonstrate your knowledge and competency in applying the concepts. It is not enough to simply describe the situation, or the interactions or the situation, etc. This is a required first step. You must be able to demonstrate how one can better understand your life and social interactions, the groups and the social rules that guide your life, by using the concepts of sociology.

The deviant event I choose was not wearing a formal dress attire to Sunday morning "Sunday School and "Church" services. The scenario is going to church in a pair of jeans and a casual shirt. This church is my parent's church and the congregation is compose of 50+ members there are very few young adults the older members 50+ always wear a dress to church or a very nice pant suit when it is colder weather. I was raised in this church and married in this church. I do not go there on a regular basis but occassionally attend for my parents sake. They are from the "old school" were wearing jeans to church is strictly taboo. In the paper I would describe the reaction of the congregation and my parents who are 85 and 75. Add anything you like to make the paper work.


Excerpt From Essay:

Title: Paintings

Total Pages: 3 Words: 1055 References: 0 Citation Style: MLA Document Type: Research Paper

Essay Instructions: There is 3 assignments here with each assignment consisting of a full page.

Assignment 1--How does each artist create Harmony in each of these two artworks? How is Variety created in each? What is repeated and what is contrasted? How are the four Elements (Line, Shape, Texture, Value) we've covered so far repeated or contrasted to create Harmony and Variety? Can you find an example where the same Element (Shape, for example) is used to create both Harmony and Variety? Of course, one work is nonobjective and the other is representational, but beyond that, how are these two artworks different in terms of the four Elements, and the Principle of Harmony and Variety? Be sure to use very specific examples from the artworks to back up each of your observations (don't just say that color is repeated in De Heem's painting; say exactly which colors and where they are located. Don't just say that shapes are repeated in Nevelson's sculpture; say what kind of shapes and where they are located).

Art #1 Louise Nevelson
Royal Tide I 1960

Art #2 Jan De Heem
Still Life With Lobster 1650
Oil on Canvas

Assignment 2--Early Sunday Morning, 1930, is by Edward Hopper (American, 1882-1967). This scene of storefronts should look familiar to you; here in the Midwest you can see similar looking buildings in the older part of any town (in Ypsilanti, Depot Town looks just like Hopper’s painting). The funny thing is, this is a street scene in New York City! New York looked a little different, in 1930, than it does today. Hopper wants us to stop and look at something we pass by every day without noticing: the visual rhythms of the storefronts. Early on Sunday morning, no one is out, and we can really see the buildings without distraction.
I’d like you to find examples of visual rhythm in this painting. What repetitions do you see that moves your eye through the composition? How many different rhythms can you find? Are there examples of contrast within repetition (Variety within Harmony)?

The Dance, is by Andre Derain (French, 1880-1963). When we think of rhythm and music, we naturally think of dance. We’ve seen, in the example of Mondrian, how visual artists can be influenced by music. Dance becomes a natural subject for visual art because it is a visual expression of music and rhythm. Derain, in his painting, takes us back to a kind of primitive Eden, full of color and movement.
Once again, I’d like you to find examples of visual rhythm in this painting. What repetitions do you see that moves your eye through the composition? How many different rhythms can you find? Are there examples of contrast within repetition (Variety within Harmony)? Then compare and contrast the rhythms in the two artworks. How are the rhythms different in the two paintings? How do the differences help to create the content of each painting?

Assignment 3--Christina’s World, is one of Andrew Wyeth’s most famous paintings. The composition is asymmetrically balanced, with the left side different from the right side. Wyeth shows Christina, out in a field of dry grass, positioned on the left side of the canvas. Given that she is the only figure in the composition, and is certainly the first thing that one would look at in this painting, how does Wyeth create a sense of visual balance in the composition? Wyeth has to get us to look over to the right side of the painting. How does he do it? Where do we look? What do we look at? How did he get us to look in that direction? Once we are on the right side of the composition, he has to bring us back again to the left side. How does he do it? Where do we look? What do we look at? How can we start with Christina, and end up back at Christina? Finally, what do you think is going on in this painting? What is the story that Wyeth seems to be creating here? Why does he place Christina out in the field? What is she doing there? What kind of feeling, or mood, does he create in this painting?
Man and Woman in a Large Room, Richard Diebenkorn creates a kind of self-portrait in the asymmetrically balanced composition. He shows himself, seated with his back to us, as he works on his drawing pad. His wife is posing for him, in front of a couch that sits on a large area rug. They are in a large studio room. Diebenkorn puts both figures on the left side of the composition. How can he do this and still create a sense of visual equilibrium? How does he get us to look to the right side of the composition? Where do we look? What do we look at? Like Wyeth, Diebenkorn wants us to come back to our starting point. How does he move our eye back, again, to the left side? Where do we look? What do we look at? How does Diebenkorn move us around the room?
Write an analysis of both the Wyeth and Diebnkorn paintings.

Excerpt From Essay:

Essay Instructions: Hispanic and Latino Spirituality Paper Spirituality, magic, and myth play an important role in many literary works, but all have a special emphasis in Hispanic/Latino literature.
Write a 1,050- to 1400- word paper on this topic. Listed below are the reading for this week section of Hispanic American Literature:

? ?Seven Long Times? by Piri Thomas
? ?Buffalo Nickel? by Floyd Salas
? ?Rain of Gold? by Victor Villase?or
? ?Tales Told under the Mango Tree? by Judith Ortiz Cofer
? ?Ghosts and Voices: Writing from Obsession? and ?Notes to a Young(er) Writer? by Sandra Cisneros
? ?Into the Pit with Bruno Cano? by Rolando Hinojosa
? ?The Sergeant? by Lionel G. Garc?a
? ?First Communion? by Tom?s Rivera
? ?The Kite? by Ed Vega
? ?The Curing Woman? by Alejandro Morales
? ?The Cariboo Cafe? by Helena Mar?a Viramontes
? ?Ode to the Mexican Experience? and ?I Am America? by Luis Omar Salinas
? ?You Will Grow Old,? ?Lesson in Semantics,? and ?How to Eat Crow on a Cold Sunday Morning? by Angela de Hoyos
? ?Taos Pueblo Indians: 700 Strong According to Bobby's Last Census? by Miguel Algar?n
? ?Immigrants? and ?Curandera? by Pat Mora
? ?A Lower East Side Poem? and ?New York City Hard Times Blues? by Miguel Pi?ero
? ?AmeR?can? by Tato Laviera
? ?Exile? by Judith Ortiz Cofer
? ?Five Indiscretions? by Alberto R?os
? ?Mart?n III? by Jimmy Santiago Baca
? ?Beautiful Se?oritas? by Dolores Prida

Excerpt From Essay:

Title: Existential analysis of A Man Named Ziegler by Herman Hesse

Total Pages: 5 Words: 1742 Bibliography: 1 Citation Style: MLA Document Type: Research Paper

Essay Instructions: Paper Topic:
- Existential Analysis of A Man Named Ziegler by Herman Hesse
- Choose the existential themes that are seen in this short story and analyze the role each theme plays in the story.
- The is the start of all existentialism is: "The possibility of choice is the central fact of human nature"

- Existential themes:
1) Individual vs. the Herd (society)
i. One person breaking free of society and making a difference in the world
ii. An Individual (Existential Hero) is a person willing to die for their beliefs, take responsibility for their actions, and are self-reliant.
2) Concept of the Absurd Universe
i. " The universe is without inherent meaning. Therefore, the Individual must give it one."
3) Free will vs. Responsibility
4) Authentic vs. Inauthentic
i. genuine actions vs. false actions
5) Existential Journey
i. First is Birth into the Absurd Universe, then one goes to Dark Night of the Soul (the moment of Absolute Solitude)which is where a person figures out if they are going to go forward alone and become an individual or retreat to the safety of the herd, then the final part of the journey is Individuation which is where the ones who chose to become individuals end up.
6) Dark Night of the Soul
i. the moment of absolute solitude
7) Existential Nausea/Dread/Anxiety
i. when one is so uncomfortable with themselves

Paper Rules:
1) Use quotes when quoting from the text of the story
2) Don't begin a paragraph with a quote
3) Page # only goes in the ( ) at the end of a quote and the period after the ( ).
4) Quotes you insert into the text of your paper must be connected to the point you are trying to make.
5) You must support (provide evidence) for each of your assertions/opinions by citing from the short story.
6) Each paragraph is about one idea. When you want to bring up a new idea you need to start a new paragraph.
7) No outside/secondary sources. The only source is the actual story and the authors opinion.
8) Paper must be written in third person.

Some more notes that might be useful:
- Alchemy: Was the attempt of turning lead into gold using an Alembic/Vessel.
i. This wasn’t an attempt of to make money, what it was, was if they were able to turn lead into gold they were going to use it to bathe people of their sins and turn them back into their purest forms, never happen.
- Fire is recognized as the symbol for transformation

My opinion of which themes are seen in this story:
- Individual vs. the Herd
- Authentic vs. Inauthentic
- Existential Anxiety
- The Existential Journey
i. In my opinion, this is probably the main theme of the story.

The Story, A Man Named Ziegler by Hermann Hesse:

There was once a young man by the name of Ziegler, who lived on Brauergasse. He was one of those people we see every day on the street, whose faces we can never really remember, because they all have the same face: a collective face.

Ziegler was everything and did everything that such people always are and do. He was not stupid, but neither was he gifted; he loved money and pleasure, liked to dress well, and was as cowardly as most people: his life and activities were governed less by desires and strivings than by prohibitions, by the fear of punishment. Still, he had a number of good qualities and all in all he was a gratifyingly normal young man, whose own person was most interesting and important to him. Like every other man, he regarded himself as an individual, though in reality he was only a specimen, and like other men he regarded himself and his life as the centre of the world. He was far removed from all doubts, and when facts contradicted his opinions, he shut his eyes disapprovingly.

As a modern man, he had unlimited respect for not only money, but also for a second power: science. He could not have said exactly what science was, he had in mind something on the order of statistics and perhaps a bit of bacteriology, and he knew how much money and honour the state accorded to science. He especially admired cancer research, for his father had died of cancer, and Ziegler firmly believed that science, which had developed so remarkably since then, would not let the same thing happen to him.

Outwardly Ziegler distinguished himself by his tendency to dress somewhat beyond his means, always in the fashion of the year. For since he could not afford the fashions of the month or season, it goes without saying that he despised them as foolish affectation. He was a great believer in independence of character and often spoke harshly, among friends and in safe places, of his employers and of the government. I am probably dwelling too long on this portrait. But Ziegler was a charming young fellow, and he has been a great loss to us. For he met with a strange and premature end, which set all his plans and justified hopes at naught.

One Sunday soon after his arrival in our town, he decided on a day's recreation. He had not yet made any real friends and had not yet been able to make up his mind to join a club. Perhaps this was his undoing. It is not good for a man to be alone.

He could think of nothing else to do but go sightseeing. After conscientious inquiry and mature reflection he decided on the historical museum and the zoo. The museum was free of charge on Sunday mornings, and the zoo could be visited in the afternoon for a moderate fee.

Wearing his new suit with cloth buttons -- he was very fond of it -- he set out for the historical museum. He was carrying his thin, elegant, red-lacquered walking cane, which lent him dignity and distinction, but which to his profound displeasure he was obliged to part with at the entrance.

There were all sorts of things to be seen in the lofty rooms, and in his heart the pious visitor sang the praises of almighty science, which, here again, as Ziegler observed in reading the meticulous inscriptions on the showcases, proved that it could be counted on. Thanks to these inscriptions, old bric-a-brac, such as rusty keys, broken and tarnished necklaces, and so on, became amazingly interesting. It was marvellous how science looked into everything, understood everything and found a name for it -- oh, yes, it would definitely get rid of cancer very soon, maybe it would even abolish death.

In the second room he found a glass case in which he was reflected so clearly that he was able to stop for a moment and check up, carefully and to his entire satisfaction, on his coat, trousers, and the knot of his tie. Pleasantly reassured, he passed on and devoted his attention to the products of some early wood carvers. Competent men, though shockingly naive, he reflected benevolently. He also contemplated an old grandfather clock with ivory figures which danced the minuet when it struck the hour, and it too met with his patient approval. Then he began to feel rather bored; he yawned and looked more and more frequently at his watch, which he was not ashamed of showing, for it was solid gold, inherited from his father.

As he saw to his regret, he still had a long way to go till lunchtime, and so he entered another room. Here his curiosity revived. It contained objects of medieval superstition, books of magic, amulets, trappings of witchcraft, and in one corner a whole alchemist's workshop, complete with forge, mortars, pot-bellied flasks dried-out pig's bladders, bellows, and so on. This corner was roped off, and there was a sign forbidding the public to touch the objects. But one never reads such signs very attentively, and Ziegler was alone in the room.

Unthinkingly he stretched out his arm over the rope and touched a few of the weird things. He had heard and read about the Middle Ages and their comical superstitions; it was beyond him how the people of those days could have bothered with such childish nonsense, and he failed to see why such absurdities as witchcraft had not simply been prohibited. Alchemy, on the other hand, was pardonable, since the useful science of chemistry had developed from it. Good Lord, to think that these gold-makers' crucibles and all this magic hocus-pocus may have been necessary, because without them there would be no aspirin or gas bombs today!

Absentmindedly he picked up a small dark-coloured pellet, rather like a pill, rolled the dry, weightless little thing between his fingers and was about to put it down again when he heard steps behind him. He turned round. A visitor had entered the room. Ziegler was embarrassed at having the pellet in his hand, for actually he had read the sign. So he closed his hand, put it in his pocket and left.

He did not think of the pellet again until he was on the street. He took it out and decided to throw it away. But first he raised it to his nose and sniffed it. It had a faint resinous smell that he found rather pleasing, so he put it back in his pocket.

Then he went to a restaurant, ordered, leafed through a few newspapers, toyed with his tie, and cast respectful or haughty glances at the guests around him, depending on how they were dressed. But when his meal was rather long in coming, he took out the alchemist's pill that he had involuntarily stolen, and smelled it. Then he scratched it with his fingernail, and finally naively giving into a childlike impulse, he put it in his mouth. It did not taste bad and dissolved quickly; he washed it down with a sip of beer. And then his meal arrived.

At two o'clock the young man jumped off the street car, went to the zoo, and bought a Sunday ticket.

Smiling amiably, he went to the primate house and planted himself in front of the big cage where the chimpanzees were kept. A large chimpanzee blinked at him, gave him a good-natured nod, and said in a deep voice: "How goes it, brother?"

Repelled and strangely frightened, Ziegler turned away. As he was hurrying off, he heard the ape scolding: "What's he got to be proud about! The stupid bastard!"

He went to see the long-tailed monkeys. They were dancing merrily. "Give us some sugar, old buddy!" they cried. And when he had no sugar, they grew angry and mimicked him, called him a cheapskate, and bared their teeth. That was more than he could stand; he fled in consternation and made for the deer, whom he expected to behave better.

A large stately elk stood close to the bars, looking him over. And suddenly Ziegler was stricken with horror. For since swallowing the magic pill, he understood the language of the animals. And the elk spoke with his eyes, two big brown eyes. His silent gaze expressed dignity, resignation, sadness, and with regard to the visitor a lofty and solemn contempt, a terrible contempt. In the language of these silent, majestic eyes, Ziegler read, he, with hat and cane, his gold watch and his Sunday suit, was no better than vermin, an absurd and repulsive bug.

From the elk he fled to the ibex, from the ibex to the chamois, the llama, and the gnu, to the wild boars and bears. They did not all insult him, but without exception they despised him. He listened to them and learned from their conversations what they thought of people in general. And what they thought was most distressing. Most of all they were surprised that these ugly, stinking, undignified bipeds with their foppish disguises should be allowed to run around loose.

He heard a puma talking to her cub, a conversation full of dignity and practical wisdom, such as one seldom hears among humans. He heard a beautiful panther expressing his opinions of this riffraff, the Sunday visitors, in succinct, well-turned, aristocratic phrases. He looked the blond lion in the eye and learned of the wonderful immensity of the wilderness, where there are no cages and no human beings. He saw a kestrel perched proud and forlorn, congealed in melancholy, on a dead branch and saw the jays bearing their imprisonment with dignity, resignation and humour.

Dejected and wrenched out of all habits of thought, Ziegler turned back to his fellow men in despair. He looked for eyes that would understand his terror and misery; he listened to conversations in the hope of hearing something comforting, something understandable and soothing; he observed the gestures of the visitors in the hope of finding nobility and quiet, natural dignity.

But he was disappointed. He heard voices and words, he saw movements, gestures and glances, but since now saw everything as through the eyes of an animal, he found nothing but a degenerate, dissembling mob of bestial fops, who seemed to be an unbeautiful mixture of all the animal species.

In despair Ziegler wandered about. He felt hopelessly ashamed of himself. He had long since thrown his red-lacquered cane into the bushes and his gloves after it. But when he threw away his hat, took off his shoes and tie, and shaken with sobs pressed against the bars of the elk's cage, a crowd collected and the guards seized him, and he was taken away to an insane asylum.

-- End --

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