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February 21, 2017
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Invention as “Looking Beyond” and Academic Discourse
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Invention as “Looking Beyond” and Academic Discourse
Research Assignment: Invention as “Looking Beyond” and Academic Discourse
Attend the SMC library to research articles and books on your topic of choice for your final research paper, LITERARY ANALYSIS and/or to find secondary sources for your final essays (Masterworks project).
This is the perfect time to rely on our textbook MLA Handbook for Writers of Research Papers. You should browse this book for information on a variety of issues regarding your specific case and to contemplate your individual writing needs. For example, if you are unsure about your topic or are an inexperienced researcher, this textbook will guide you to find sources at any library?s catalog or databases. Read Chapter 1 (beginning on page 3) where you?ll find guidelines to execute these academic chores efficiently. Chapter 2 informs you on plagiarism, academic integrity and provides measures to avoid plagiarism when documenting sources. Chapter 3 reviews the mechanics of writing, so if your needs are on improving and sophisticating your prose, you should study this chapter. As we glide into final weeks workshops bring your drafts to class (hardcopies or in laptops) and your textbooks. We reference Chapter 5 and Chapter 6 (format, documentation) while revising your papers to grant a flow of sources and prose conveyed with rhetorical acumen.
I must remind you that this course?s title is English 2: Critical Analysis and Intermediate Composition, and its subject is Literature of (various genres) thus, you need to build your papers from a literary text, interpreting them, critiquing, making an argument?This means that any theme/topic must be drawn or interpreted from the genres studied in class, such as poems, short stories, plays, essays, or a work in any of these genres (with my approval). We are looking at cultural artifacts, mostly in the genre of Literature to build critical interpretation. The critical approaches and literary criticism (refer to e-companion tab How to Write About Literature: Tips and Guidelines, and on our main textbook World, appendix A, Literary Criticism) should provide directions and frameworks to contain your narrative, to guide your exploration and research on this topic, and to help you find sources supporting your thesis.
Aiming to assist you as you endeavor in researching, I will paste below a few links, some basic researching steps and instructions to prepare a SOURCE PAPER (in which you will record quotes and cited material). This Source paper will be due Nov. 30 in class for workshops. Submit proof of this assignment digitally onto e-companion Source Paper Dropbox.
1- Steps and links:
a. SMC Library homepage: http://www.smc.edu/AcademicAffairs/Library/Pages/default.aspx
b. SMC Online library catalog: http://sirsi.smc.edu/uhtbin/cgisirsi/?ps=oxchBaVgLd/MAIN/70100011/60/62/X
c. Library Databases (Literature): http://library.smc.edu/new/eresources/lidb.html
d. MLA: http://www.mla.org/ (your textbook should provide a code to access the full site)
II- Create a Source Paper and upload it into e-companion Dropbox: SOURCE PAPER as proof of your research and as efficient, systematic method to record your sources:
A source paper is a draft composed of only quotes, summaries, and paraphrases that come from your research and reading of articles and books. There are two purposes for such a paper. First, to demonstrate that research is a form of invention as important as brainstorming. Brainstorming is looking within your own mind. Research is looking beyond to the minds of experts. And second, to teach good research habits that will help you throughout your life. Your source paper will serve as a record of your findings and as proof that you?ve completed the assignment.
EXPECTATIONS:
1. Your source paper must include quotes, summaries, and paraphrases from external, textual sources.
2. Your source paper should be at least 2 pages long, most clearly, if you consider that on at least 2 pages you will be pasting quotes, paraphrasing and summarizing material from various sources
3. The quotes, summaries, and paraphrases that make up your paper must come from three different sources, including books and periodicals (journals, newspapers, or magazines). You may include popular sources but be sure to evaluate the reliability of the site, if they are reached via browsers and search engines, such as Google. Try to avoid sites with ?dot com.? On the other hand, dot edu, dot org and dot gov are reliable sites and information is regularly updated and scholarly-reviewed before published. However, scholarly written articles on the authors and their works, or on the theories and frameworks specific to your approach, will serve the purpose of grant ethos to your paper.
INSTRUCTIONS:
1. With your topic in mind, go to the library or access SMC library databases, and search for articles using the print indexes and online databases.
2. When you find books and journal articles of your interest, locate it in the stacks, email the articles to yourself. Cut and paste lines, quotes, paragraphs into your source paper and include the title, author and publication information next to it. It is vital that you record bibliographic information from each source, to avoid plagiarism and confusing sources.
3. Typically, the information you need to write down is in three parts:
1. Who or what is the author or producer.
2. What is the title of the article? In addition, what is the title of the text, book, periodical or web site the article is found in.
Integrating Quotations from a Literary Text into a Literary Analysis Paper
As you choose quotations for a literary analysis, remember the purpose of quoting. Your paper develops an argument about what the author of the text is doing–how the text “works.” You use quotations to support this argument; that is, you select, present, and discuss material from the text specifically to “prove” your point–to make your case–in much the same way a lawyer brings evidence before a jury.
Quoting for any other purpose is counterproductive. Don’t quote to “tell the story” or otherwise convey basic information about the text; assume the reader knows the text. Don’t quote just for the sake of quoting or just to fill up space. Don’t make the reader jump up and shout “Irrelevant!”
This handout presents (1) general guidelines about the use of quotations in a literary analysis;
(2) suggestions about ways to combine quoted material with your own prose; (3) “nuts and bolts” information about format and various rules for handling text.
We Know What Shakespeare Wrote–We Don’t Know How You Read It
The following paragraph is from a student’s analysis of the relationship between two characters in Woolf’s To the Lighthouse. Notice how statements expressing the writer’s ideas and observations are verified with evidence from the novel in both summarized and quoted form.
We learn about Mrs. Ramsey’s personality by observing her feelings about other characters. For example, Mrs. Ramsey has mixed feelings toward Mr. Tansley, but her feelings seem to grow more positive over time as she comes to know him better. At first Mrs. Ramsey finds Mr. Tansley annoying, as shown especially when he mentions that no one is going to the lighthouse (52). But rather than hating him, at this point she feels pity: “she pitied men always as if they lacked something . . .” (85). Then later, during the gathering, pity turns to empathy as she realizes that Mr. Tansley must feel inferior. He must know, Mrs. Ramsey thinks, that “no woman would look at him with Paul Rayley in the room” (106). Finally, by the end of the dinner scene, she feels some attraction to Mr. Tansley and also a new respect: “She liked his laugh. . . . She liked his awkwardness. There was a lot in that man after all” (110). In observing this evolution in her attitude, we learn more about Mrs. Ramsey than we do about Mr. Tansley. The change in Mrs. Ramsey’s attitude is not used by Woolf to show that Mrs. Ramsey is fickle or confused; rather it is used to show her capacity for understanding both the frailty and complexity of human beings. This is a central characteristic of Mrs. Ramsey’s personality.
The contents of a literary analysis. Notice that this paragraph includes three basic kinds of materials: (a) statements expressing the student’s own ideas about the relationship Woolf is creating;
(b) data or evidence from the text in summarized, paraphrased, and quoted form; and (c) discussion of how the data support the writer’s interpretation. The quotations are used in accordance with the writer’s purpose, i.e. to show how the development of Mrs. Ramsey’s feelings indicates something about her personality.
2
Quoting vs. the alternatives. Quoting is only one of several ways to present textual material as evidence. You can also refer to textual data, summarize, and paraphrase. You will often want merely to refer or point to passages (as in the third sentence above) that contribute to your argument. In other cases you will want to paraphrase, i.e. “translate” the original into your own words, again instead of quoting. Summarize or paraphrase when it is not so much the language of the text that justifies your position, but the substance or content.
Quoting selectively. Similarly, after you have decided that you do want to use material in quoted form, quote only the portions of the text specifically relevant to your point. Think of the text in terms of units– words, phrases, sentences, and groups of sentences (paragraphs, stanzas)–and use only the units you need. If it is particular words or phrases that “prove” your point, you do not need to quote the sentences they appear in; rather, incorporate the words and phrases into sentences expressing your own ideas.
Patterns for Incorporating Quotations into Sentences
It is permissible to quote an entire sentence (between two sentences of your own), but in general you should avoid this method of bringing textual material into your discussion. Instead, use one of the following patterns.
An introducing phrase or orienter plus the quotation:
U In this poem it is creation, not a hypothetical creator, that is supremely awesome. [argument sentence]. The speaker asks, “What immortal hand or eye / Dare frame thy fearful symmetry?” [data sentence; orienter before quote]
U Gatsby is not to be regarded as a personal failure. [argument sentence] “Gatsby turned out all right at the end” (176), according to Nick. [data sentence; orienter after quote]
U “I know you blame me,” Mrs. Compson tells Jason (47). [data sentence; orienter after quote] Is she expressing her own sense of guilt? [argument sentence]
An assertion of your own and a colon plus the quotation:
U Vivian hates the knights for scorning her, and she dreams of achieving glory by destroying
Merlin’s: “I have made his glory mine” (390).
U Fitzgerald gives Nick a muted tribute to the hero: “Gatsby turned out all right at the end” (176).
U Cassio represents not only a political but also a personal threat to Iago: “He hath a daily beauty in his life / That makes me ugly . . .” (5.1.19-20).
An assertion of your own with quoted material worked in:
U For Nick, who remarks that Gatsby “turned out all right” (176), the hero deserves respect but perhaps does not inspire great admiration.
U Satan’s motion is many things; he “rides” through the air (63), “rattles” (65), and later explodes, “wanders and hovers” like a fire (293).
U Even according to Cleopatra, Mark Antony’s “duty” is to the Roman state. Clarity and Readability: Some Guidelines
? ! Introduce a quotation either by indicating what it is intended to show or by naming its source, or both. For non-narrative poetry, it’s customary to attribute quotations to “the speaker”; for a story with a narrator, to “the narrator.” For plays, novels, and other works with characters, identify characters as you quote them.
? ! Do not use two quotations in a row, without intervening material of your own.
! Tense is a tricky issue. It’s customary in literary analysis to use the present tense; it is at the present time that you (and your reader) are looking at the text. But events in a narrative or drama take place in a time sequence. You will often need to use a past tense to refer to events that took place before the moment you are presently discussing:
When he hears Cordelia’s answer, Lear seems surprised, but not dumbfounded. He advises her to “mend [her] speech a little.” He had expected her to praise him the most; but compared to her sisters’, her remarks seem almost insulting (1.1.95).
Nuts and Bolts
Documentation
U Follow your course instructor’s guidelines for documenting sources. If your instructor hasn’t told you which system to use to document sources, ask.
U The documentation style used in this handout is that presented in the 1988 MLA Handbook, but other style systems are commonly used. The Writing Center has information about the rules of documentation in general and about a number of the most common systems.
To indent or not to indent
U Prose or verse quotations less than four lines long are not indented. For quotations of this length, use the patterns described above.
U Indent “longer” quotations in a block about ten spaces in from the left margin; when a quotation is indented, quotation marks are not used. The MLA Handbook recommends that indented quotations be double-spaced, but many instructors prefer them single-spaced. The meaning of “longer” varies slightly from one style system to another, but a general rule is to indent quotations that are more than two (or three) lines of verse or three (or four) lines of prose.
3
4 U Indent dialogue between characters in a play. Place the speaker’s name before the speech quoted:
CAESAR: Et tu, Brute! Then, fall, Caesar!
CINNA: Liberty! Freedom! Tyranny is dead! (3.1.77-78)
Exactitude in quotations
U If for the sake of brevity you wish to omit material from a quoted passage, use ellipsis points (three spaced periods) to indicate the omission. (See the paragraph on To the Lighthouse, above. The writer quoted only those portions of the original sentences that related to the point of the analysis.)
U When quoting, you may alter grammatical forms such as the tense of a verb or the person of a pronoun so that the quotation conforms grammatically to your own prose; indicate these alterations by placing square brackets around the changed form. See the quotation at the end of the previous section: “her” replaces the “your” of the original so that the quote fits the point of view of the paper (third person).
U Reproduce the spelling, capitalization, and internal punctuation of the original exactly. Of the following sentences presenting D. H. Lawrence’s thought, “Books are not life,” the first is not acceptable in some style systems.
For Lawrence, “books are not life.” [UNACCEPTABLE]
For Lawrence, “[b]ooks are not life.” [acceptable but awkward] Lawrence wrote, “Books are not life.” [acceptable]
“Books,” Lawrence wrote, “are not life.” [acceptable]
For Lawrence, books “are not life.” [acceptable]
Punctuation of quotations
U You may alter the closing punctuation of a quote in order to incorporate it into a sentence of your own:
“Books are not life,” Lawrence emphasized.
U Commas and periods go inside the closing quotation marks; the other punctuation marks go outside.
Lawrence insisted that books “are not life”; however, he wrote exultantly about the power of the novel.
Why does Lawrence need to point out that “Books are not life”?
U When quoting lines of poetry up to three lines long (which are not indented), separate one line of poetry from another with a slash mark (see examples on page 2, above).
Previous answers to this question
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February 21, 2017
‘
<'">
0
Invention as “Looking Beyond” and Academic Discourse
Research Assignment: Invention as “Looking Beyond” and Academic Discourse
Attend the SMC library to research articles and books on your topic of choice for your final research paper, LITERARY ANALYSIS and/or to find secondary sources for your final essays (Masterworks project).
This is the perfect time to rely on our textbook MLA Handbook for Writers of Research Papers. You should browse this book for information on a variety of issues regarding your specific case and to contemplate your individual writing needs. For example, if you are unsure about your topic or are an inexperienced researcher, this textbook will guide you to find sources at any library?s catalog or databases. Read Chapter 1 (beginning on page 3) where you?ll find guidelines to execute these academic chores efficiently. Chapter 2 informs you on plagiarism, academic integrity and provides measures to avoid plagiarism when documenting sources. Chapter 3 reviews the mechanics of writing, so if your needs are on improving and sophisticating your prose, you should study this chapter. As we glide into final weeks workshops bring your drafts to class (hardcopies or in laptops) and your textbooks. We reference Chapter 5 and Chapter 6 (format, documentation) while revising your papers to grant a flow of sources and prose conveyed with rhetorical acumen.
I must remind you that this course?s title is English 2: Critical Analysis and Intermediate Composition, and its subject is Literature of (various genres) thus, you need to build your papers from a literary text, interpreting them, critiquing, making an argument?This means that any theme/topic must be drawn or interpreted from the genres studied in class, such as poems, short stories, plays, essays, or a work in any of these genres (with my approval). We are looking at cultural artifacts, mostly in the genre of Literature to build critical interpretation. The critical approaches and literary criticism (refer to e-companion tab How to Write About Literature: Tips and Guidelines, and on our main textbook World, appendix A, Literary Criticism) should provide directions and frameworks to contain your narrative, to guide your exploration and research on this topic, and to help you find sources supporting your thesis.
Aiming to assist you as you endeavor in researching, I will paste below a few links, some basic researching steps and instructions to prepare a SOURCE PAPER (in which you will record quotes and cited material). This Source paper will be due Nov. 30 in class for workshops. Submit proof of this assignment digitally onto e-companion Source Paper Dropbox.
1- Steps and links:
a. SMC Library homepage: http://www.smc.edu/AcademicAffairs/Library/Pages/default.aspx
b. SMC Online library catalog: http://sirsi.smc.edu/uhtbin/cgisirsi/?ps=oxchBaVgLd/MAIN/70100011/60/62/X
c. Library Databases (Literature): http://library.smc.edu/new/eresources/lidb.html
d. MLA: http://www.mla.org/ (your textbook should provide a code to access the full site)
II- Create a Source Paper and upload it into e-companion Dropbox: SOURCE PAPER as proof of your research and as efficient, systematic method to record your sources:
A source paper is a draft composed of only quotes, summaries, and paraphrases that come from your research and reading of articles and books. There are two purposes for such a paper. First, to demonstrate that research is a form of invention as important as brainstorming. Brainstorming is looking within your own mind. Research is looking beyond to the minds of experts. And second, to teach good research habits that will help you throughout your life. Your source paper will serve as a record of your findings and as proof that you?ve completed the assignment.
EXPECTATIONS:
1. Your source paper must include quotes, summaries, and paraphrases from external, textual sources.
2. Your source paper should be at least 2 pages long, most clearly, if you consider that on at least 2 pages you will be pasting quotes, paraphrasing and summarizing material from various sources
3. The quotes, summaries, and paraphrases that make up your paper must come from three different sources, including books and periodicals (journals, newspapers, or magazines). You may include popular sources but be sure to evaluate the reliability of the site, if they are reached via browsers and search engines, such as Google. Try to avoid sites with ?dot com.? On the other hand, dot edu, dot org and dot gov are reliable sites and information is regularly updated and scholarly-reviewed before published. However, scholarly written articles on the authors and their works, or on the theories and frameworks specific to your approach, will serve the purpose of grant ethos to your paper.
INSTRUCTIONS:
1. With your topic in mind, go to the library or access SMC library databases, and search for articles using the print indexes and online databases.
2. When you find books and journal articles of your interest, locate it in the stacks, email the articles to yourself. Cut and paste lines, quotes, paragraphs into your source paper and include the title, author and publication information next to it. It is vital that you record bibliographic information from each source, to avoid plagiarism and confusing sources.
3. Typically, the information you need to write down is in three parts:
1. Who or what is the author or producer.
2. What is the title of the article? In addition, what is the title of the text, book, periodical or web site the article is found in.
Integrating Quotations from a Literary Text into a Literary Analysis Paper
As you choose quotations for a literary analysis, remember the purpose of quoting. Your paper develops an argument about what the author of the text is doing–how the text “works.” You use quotations to support this argument; that is, you select, present, and discuss material from the text specifically to “prove” your point–to make your case–in much the same way a lawyer brings evidence before a jury.
Quoting for any other purpose is counterproductive. Don’t quote to “tell the story” or otherwise convey basic information about the text; assume the reader knows the text. Don’t quote just for the sake of quoting or just to fill up space. Don’t make the reader jump up and shout “Irrelevant!”
This handout presents (1) general guidelines about the use of quotations in a literary analysis;
(2) suggestions about ways to combine quoted material with your own prose; (3) “nuts and bolts” information about format and various rules for handling text.
We Know What Shakespeare Wrote–We Don’t Know How You Read It
The following paragraph is from a student’s analysis of the relationship between two characters in Woolf’s To the Lighthouse. Notice how statements expressing the writer’s ideas and observations are verified with evidence from the novel in both summarized and quoted form.
We learn about Mrs. Ramsey’s personality by observing her feelings about other characters. For example, Mrs. Ramsey has mixed feelings toward Mr. Tansley, but her feelings seem to grow more positive over time as she comes to know him better. At first Mrs. Ramsey finds Mr. Tansley annoying, as shown especially when he mentions that no one is going to the lighthouse (52). But rather than hating him, at this point she feels pity: “she pitied men always as if they lacked something . . .” (85). Then later, during the gathering, pity turns to empathy as she realizes that Mr. Tansley must feel inferior. He must know, Mrs. Ramsey thinks, that “no woman would look at him with Paul Rayley in the room” (106). Finally, by the end of the dinner scene, she feels some attraction to Mr. Tansley and also a new respect: “She liked his laugh. . . . She liked his awkwardness. There was a lot in that man after all” (110). In observing this evolution in her attitude, we learn more about Mrs. Ramsey than we do about Mr. Tansley. The change in Mrs. Ramsey’s attitude is not used by Woolf to show that Mrs. Ramsey is fickle or confused; rather it is used to show her capacity for understanding both the frailty and complexity of human beings. This is a central characteristic of Mrs. Ramsey’s personality.
The contents of a literary analysis. Notice that this paragraph includes three basic kinds of materials: (a) statements expressing the student’s own ideas about the relationship Woolf is creating;
(b) data or evidence from the text in summarized, paraphrased, and quoted form; and (c) discussion of how the data support the writer’s interpretation. The quotations are used in accordance with the writer’s purpose, i.e. to show how the development of Mrs. Ramsey’s feelings indicates something about her personality.
2
Quoting vs. the alternatives. Quoting is only one of several ways to present textual material as evidence. You can also refer to textual data, summarize, and paraphrase. You will often want merely to refer or point to passages (as in the third sentence above) that contribute to your argument. In other cases you will want to paraphrase, i.e. “translate” the original into your own words, again instead of quoting. Summarize or paraphrase when it is not so much the language of the text that justifies your position, but the substance or content.
Quoting selectively. Similarly, after you have decided that you do want to use material in quoted form, quote only the portions of the text specifically relevant to your point. Think of the text in terms of units– words, phrases, sentences, and groups of sentences (paragraphs, stanzas)–and use only the units you need. If it is particular words or phrases that “prove” your point, you do not need to quote the sentences they appear in; rather, incorporate the words and phrases into sentences expressing your own ideas.
Patterns for Incorporating Quotations into Sentences
It is permissible to quote an entire sentence (between two sentences of your own), but in general you should avoid this method of bringing textual material into your discussion. Instead, use one of the following patterns.
An introducing phrase or orienter plus the quotation:
U In this poem it is creation, not a hypothetical creator, that is supremely awesome. [argument sentence]. The speaker asks, “What immortal hand or eye / Dare frame thy fearful symmetry?” [data sentence; orienter before quote]
U Gatsby is not to be regarded as a personal failure. [argument sentence] “Gatsby turned out all right at the end” (176), according to Nick. [data sentence; orienter after quote]
U “I know you blame me,” Mrs. Compson tells Jason (47). [data sentence; orienter after quote] Is she expressing her own sense of guilt? [argument sentence]
An assertion of your own and a colon plus the quotation:
U Vivian hates the knights for scorning her, and she dreams of achieving glory by destroying
Merlin’s: “I have made his glory mine” (390).
U Fitzgerald gives Nick a muted tribute to the hero: “Gatsby turned out all right at the end” (176).
U Cassio represents not only a political but also a personal threat to Iago: “He hath a daily beauty in his life / That makes me ugly . . .” (5.1.19-20).
An assertion of your own with quoted material worked in:
U For Nick, who remarks that Gatsby “turned out all right” (176), the hero deserves respect but perhaps does not inspire great admiration.
U Satan’s motion is many things; he “rides” through the air (63), “rattles” (65), and later explodes, “wanders and hovers” like a fire (293).
U Even according to Cleopatra, Mark Antony’s “duty” is to the Roman state. Clarity and Readability: Some Guidelines
? ! Introduce a quotation either by indicating what it is intended to show or by naming its source, or both. For non-narrative poetry, it’s customary to attribute quotations to “the speaker”; for a story with a narrator, to “the narrator.” For plays, novels, and other works with characters, identify characters as you quote them.
? ! Do not use two quotations in a row, without intervening material of your own.
! Tense is a tricky issue. It’s customary in literary analysis to use the present tense; it is at the present time that you (and your reader) are looking at the text. But events in a narrative or drama take place in a time sequence. You will often need to use a past tense to refer to events that took place before the moment you are presently discussing:
When he hears Cordelia’s answer, Lear seems surprised, but not dumbfounded. He advises her to “mend [her] speech a little.” He had expected her to praise him the most; but compared to her sisters’, her remarks seem almost insulting (1.1.95).
Nuts and Bolts
Documentation
U Follow your course instructor’s guidelines for documenting sources. If your instructor hasn’t told you which system to use to document sources, ask.
U The documentation style used in this handout is that presented in the 1988 MLA Handbook, but other style systems are commonly used. The Writing Center has information about the rules of documentation in general and about a number of the most common systems.
To indent or not to indent
U Prose or verse quotations less than four lines long are not indented. For quotations of this length, use the patterns described above.
U Indent “longer” quotations in a block about ten spaces in from the left margin; when a quotation is indented, quotation marks are not used. The MLA Handbook recommends that indented quotations be double-spaced, but many instructors prefer them single-spaced. The meaning of “longer” varies slightly from one style system to another, but a general rule is to indent quotations that are more than two (or three) lines of verse or three (or four) lines of prose.
3
4 U Indent dialogue between characters in a play. Place the speaker’s name before the speech quoted:
CAESAR: Et tu, Brute! Then, fall, Caesar!
CINNA: Liberty! Freedom! Tyranny is dead! (3.1.77-78)
Exactitude in quotations
U If for the sake of brevity you wish to omit material from a quoted passage, use ellipsis points (three spaced periods) to indicate the omission. (See the paragraph on To the Lighthouse, above. The writer quoted only those portions of the original sentences that related to the point of the analysis.)
U When quoting, you may alter grammatical forms such as the tense of a verb or the person of a pronoun so that the quotation conforms grammatically to your own prose; indicate these alterations by placing square brackets around the changed form. See the quotation at the end of the previous section: “her” replaces the “your” of the original so that the quote fits the point of view of the paper (third person).
U Reproduce the spelling, capitalization, and internal punctuation of the original exactly. Of the following sentences presenting D. H. Lawrence’s thought, “Books are not life,” the first is not acceptable in some style systems.
For Lawrence, “books are not life.” [UNACCEPTABLE]
For Lawrence, “[b]ooks are not life.” [acceptable but awkward] Lawrence wrote, “Books are not life.” [acceptable]
“Books,” Lawrence wrote, “are not life.” [acceptable]
For Lawrence, books “are not life.” [acceptable]
Punctuation of quotations
U You may alter the closing punctuation of a quote in order to incorporate it into a sentence of your own:
“Books are not life,” Lawrence emphasized.
U Commas and periods go inside the closing quotation marks; the other punctuation marks go outside.
Lawrence insisted that books “are not life”; however, he wrote exultantly about the power of the novel.
Why does Lawrence need to point out that “Books are not life”?
U When quoting lines of poetry up to three lines long (which are not indented), separate one line of poetry from another with a slash mark (see examples on page 2, above).