Analyze the construction of Emma Bovary with respect to nineteenth-century notions of womanhood and hysteria

Analyze the construction of Emma Bovary with respect to nineteenth-century notions of womanhood and hysteria

REQUIREMENTS:
– 2,500 words
– Title
– Bibliography
– Footnote Citations
– Single Spaced
PROMPT:
– Analyze the construction of Emma Bovary with respect to nineteenth-century notions of
womanhood and hysteria.
STRUCTURE:
– Read the question carefully and make sure you are answering it.
– An introduction should engage the reader’s attention, define any key terms, present the
topic, and flag your arguments.
– A conclusion is not simply a repetition of the introduction: it should draw the threads of
your arguments together. It can suggest possible future avenues of inquiry but should not
launch into new arguments. Good conclusions are harder to write than you think: give
them time, and don’t rush them at the last minute.
YOUR ARGUMENT:
– It is essential that your argument be drawn from close textual analysis of your primary
text(s) and that it be developed through reference to and integration of secondary sources.
– Do not simply retell the plot or describe the characters. Close textual analysis entails
moving beyond what the text ‘says’ to analyzing how it says it and what effects are
created in the process.
SECONDARY SOURCES AND REFERENCING:
– Use a minimum of three secondary sources (reference books, journal articles). Please
ensure you use scholarly sources (the author is an academic expert; the article appears in
a peer-reviewed journal; it adds to the body of knowledge in a field; arguments are
supported with academic sources).
– Be consistent and rigorous in your footnoting (or end noting) and referencing. We do not
impose a preference for style, but insist on consistent, coherent, and rigorous referencing.
Common styles used in the Faculty of Arts and Social Sciences are MLA, Harvard, and
Chicago.
– Be scrupulous in acknowledging your sources, including when you use someone’s
material (even communicated in conversation) as general inspiration or background.
QUOTATIONS:
– As a rule, direct quotations of more than three lines are indented without quotation marks.
Shorter direct quotes should be in the body of the text with quotation marks.
– Please ensure you clearly indicate the edition of the primary text(s) in your referencing.
– If you have read the set text in its original language, it is acceptable to quote the original
in your essay.
– If you have consulted reference works in other languages, please quote the original in the
body of your essay and provide a translation into English in the footnotes.
ASSESSMENT CRITERIA FOR ESSAYS:
– HIGH DISTINCTION:
– A sophisticated and nuanced argument, composed through skillful integration of
rigorous and insightful textual analysis and critical use of secondary sources. The
textual analysis demonstrates elements of originality. The whole is logically
structured, well-substantiated, and well-written. Referencing and bibliographic
formatting are exemplary.
– DISTINCTION:
– A well-developed and nuanced argument that integrates rigorous and in-depth
textual analysis with critical use of secondary sources. The whole is logically
structured, well-substantiated and well-written. Referencing and bibliographic
formatting are exemplary.
– CREDIT:
– A sound and generally well-structured argument demonstrates a thorough
knowledge of the primary text(s) and some in depth analysis. Secondary sources
are used appropriately, with few grammatical or spelling errors, and referencing
and bibliographic formatting demonstrate consistency and coherence.
– PASS:
– Argument is either not always sustained by evidence or is at times unclear. Some
attempt at analysis, but a tendency to be descriptive rather than critical. The
structure may, at times, be confusing or illogical. Referencing and bibliographic
formatting largely demonstrate consistency and coherence.
– FAIL:
– Insufficient engagement with the primary text(s) and/or factual errors with respect
to the primary text(s). Overall lack of coherence. Limited or no use of secondary
sources.
POTENTIAL READINGS:
– Beizer JL. Ventriloquized Bodies : Narratives of Hysteria in Nineteenth-Century France.
Cornell University Press; 1994.
– Amann E. Importing Madame Bovary the Politics of Adultery. 1st ed. 2006. Palgrave
Macmillan; 2006. doi:10.1057/9780312376147
– Arnaud S. On Hysteria : the Invention of a Medical Category Between 1670 and 1820.
(Ebooks Corporation., ed.). The University of Chicago Press; 2015.
– LaCapra D. Madame Bovary on Trial. Cornell University Press; 2018.
doi:10.7591/9781501720017
– Brooks M and NW. “‘Madame Bovary’: A Novel about Nothing.” In: Walder D, ed. The
Nineteenth-Century Novel : Identities. Routledge in association with Open University;
2001:9-28.
– Birken L. “Madame Bovary and the Dissolution of Bourgeois Sexuality.” Journal of the
history of sexuality (Online). 1992;2.4:609-620.
– Lehnert G. Elfriede Jelinek’s Lust and “Madame Bovary”: A Comparative Analysis. In:
Arens K, Johns JB, eds. Elfriede Jelinek : Framed by Language . Riverside, CA: Ariadne
Press, 1994. Ariadne Press; 1994:35-46.
– Marder E. Trauma, Addiction, and Temporal Bulimia in “Madame Bovary.” Diacritics
(Online). 1997;27(3):49-64.
– Weninger S. Madame Bovary’s Slipper. Nineteenth-century contexts (Online).
2010;32(3):235-243.
– Lee S. “Ma tête mise à nu:” Wigs and Wigmakers in Madame Bovary. Society of
Dix-Neuviémistes issuing body., ed. Dix-neuf. 2021;25(1):36-49.
– Per Bjørnar Grande. Desire in Madame Bovary. In: Desire. Michigan State University
Press; 2020:19-. doi:10.14321/j.ctv11vcdwg.5
– Moorjani AB. Madame Bovary’s Eroticized vehicle’. Neophilologus. 1980;64(1):48-53.
– Vinken B. “Loving, Reading, Eating: The Passion of Madame Bovary.” MLN (Online).
2007;122(4):207-213.
– Reis LC. ’The Cliché, the Discourse, and Desire of the Other in “Madame Bovary.”
Explicator (Online). 2014;72(1):57-60.