Analyzing the use of setting, narration, character explore the extent to which Joyce Carol Oates’s “Where are you Going, Where Have You Been?”
Assignment: Choose one of the options below and construct a 6 paragraph essay in response; your essay should be a minimum of five pages. Your essay must contain an introduction that moves from the general to the specific with a thesis statement coming at the end of your introduction. Recommendations for contextual material for your introduction as well as a template for effective introductory paragraphs will be distributed to you in the near future. Your thesis statement must present an argument. Your essay must contain 4 body paragraphs, which in turn, must contain effective topic sentences, lead-in sentences providing a context for your details, citations, and interpretive commentary. Each body paragraph should be at least ¾ of a page, typed double-spaced with a 12 pt times new roman font. Your essay must also include a conclusion in which you briefly summarize your position and link your ideas to other texts or vantage points as they relate to your argument. You are required to use 5 secondary sources that will be provided to you in class. They must be used specifically to provide a context for your discussion and to offer a point of contrast with your own observations and analysis of the text. In short, your argument must be represented in opposition to the literary critical studies you consult. You will receive a template demonstrating what this means. We will also do several in-class workshops introducing you to MLA (8th edition) formatting procedures and to how to incorporate primary and secondary sources into your paragraphs.
Analyzing the use of setting, narration, character explore the extent to which Joyce Carol Oates’s “Where are you Going, Where Have You Been?” can be read as an expose concerning the factors in society that render children vulnerable to child predators
English 111/Research Essay Preparation: Joyce Carol Oates’s “Where Are You Going? Where Have You Been?”/Secondary Sources and Story Analysis (376-384)
The Scale of the Problem/From Anna Salter’s Predators, Pedophiles, Rapists, and other Sex Offenders (New York: Perseus, 2003)
Pg 11–Modern research has confirmed what early researchers found. Dr. Gene Abel and colleagues conducted studies of sex offenders in the late 1980s that asked voluntary sex offender clients how many total offenses they had committed….Two hundred and thirty two child molesters admitted attempting more than fifty-five thousand incidents of molestation. They claimed to have been successful in 38,000 incidents and reported they had more than 17,000 total victims.
Evaluating Secondary Sources
From Marie Mitchell Oleson Orbanski’s “Existential Allegory: Joyce Carol Oates’s ‘Where Are You Going? Where Have You Been?’” in Studies in Short Fiction 15 (1978): 200-203
Pg 201–From the outset of the narrative, members of Connie’s family recognize their powerlessness and thus their difference from her.
Pg 203—Friend’s mesmeric influence on Connie further supports my contention that he represents a superhuman force.
From John D. Winslow’s “The Stranger Within: Two Stories by Oates and Hawthorne” in Studies in Short Fiction 17 (1980): 262-268.
Pg 264—As her fear grows, Arnold becomes more and more insistent that she go with him and gradually reveals his power over her.
Pg 266—By offering false reassurances, both protagonists cover up their true involvement and reject the help of someone who might guide them or save them.
From Joyce M. Wegs’s “’Don’t You Know Who I am? ‘ The Grotesque in Oates’s ‘Where Are You Going? Where Have You Been?’” in Journal of Narrative Technique 5 (1975): 66-72.
Pg 67–Connie’s parents, who seem quite typical, have disqualified themselves as moral guides for her.
Pg 68—Since her elders do not bother about her, Connie is left defenseless against the temptations represented by Arnold Friend.
Pg 69—It is no accident that Arnold’s clothes, car, speech, and taste in music reflect current teenage chic almost exactly, for they constitute part of a careful disguise intended to reflect Arnold’s self-image as an accomplished youthful lover.
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