For this Module Response, you will simply copy/paste your answers to the “MLA In Text Citation (Quoting)” Exercise (linked below). Remember: Simply put “C” for Correct and “I” for Incorrect. For those that are “I” (Incorrect) you also need to very briefly explain what is incorrect. You can copy the exercise or you can simply list your answers like this: 1. C 2. C 3. I. This is incorrect because… 4. I. This is incorrect because… (Of course, these are just examples–I don’t know if they are correct for this exercise or not.) English 1302 Assoc. Prof. Ken Poff. In Text Citation Exercise 2021 Read the provided paragraph and apply the MLA rules for In-Text Citations (Parenthetical Reference). Then, do TWO things: Label each as either C for correct or I for incorrect. Briefly explain why any I is incorrect. For example (and these are not necessarily the correct answers): 1. C 2. I-missing page number with citation 3. C Hints: None are incorrect because of commasabsent or presentbefore the start of a quote. None are incorrect because of capitalizationeither missing or used when not needed. Source: The following passage comes from the article Shakespeares Take on Revenge Tragedy by Elizabeth Williamson. It was published in the Shakespeare Quarterly, vol. 84, no. 3, 2017 on pages 87-92. This entire paragraph below is on page 89. Recent commentary on the question of revenge in Shakespeare’s plays frequently alludes to the dramatic genre known as revenge tragedy, a form that achieved widespread popularity in the late Elizabethan and Jacobean period. The most notable English example of this form is Thomas Kyd’s The Spanish Tragedy (c. 1587), a play which helped formulate the conventions of this genre and to which Shakespeare’s adaptations are frequently compared. Critics do not agree on the extent to which Shakespeare’s treatment of revenge adheres to or diverges from the standards established by Kyd and others. Nancy McCuller asserts that Shakespeare scrutinized the moral and ethical quandaries facing the revenger much more closely than did any of his predecessors or contemporaries. She argues that his depiction of revenge generally reflects normative religious and ethical precepts that condemn personal retaliation for a wrong (238). Indeed, she contends, Shakespeare endorsed the idea that revenge is the prerogative of heaven (238). By contrast, Martin Carson claims that regardless of moral or religious injunctions against personal vengeance, Elizabethan and Jacobean audiences shared a universal, instinctive desire to see violence repaid with violence–and that Shakespeare understood and even, on occasion, sympathized with this impulse(19). While there are, of course, other avenues to achieve revenge, violence is the means that most satisfies the audiences need for balance and closure. Despite disagreements over what his works may reveal about the dramatist’s attitude toward revenge, scholars uniformly regard Hamlet and Titus Andronicus as the plays that come closest to the revenge tragedy model. NOTE: The numbers within the paragraph refer to the pages of the original sources being quoted by Williamson. _____1. Despite disagreements over what his works may reveal about the dramatist’s attitude toward revenge, scholars uniformly regard Hamlet and Titus Andronicus as the plays that come closest to the revenge tragedy model (Williamson 89). _____2. Elizabeth Williamson points out, Critics do not agree on the extent to which Shakespeare’s treatment of revenge adheres to or diverges from the standards established by Kyd and others (Williamson 89). ? _____3. Commenting on earlier research into the concept of revenge tragedy, Williamson states, Nancy McCuller asserts that Shakespeare scrutinized the moral and ethical quandaries facing the revenger much more closely than did any of his predecessors or contemporaries (89). ? _____4. Nancy McCuller makes the claim that Shakespeare endorsed the idea that revenge is the prerogative of heaven (238).? _____5. Williamson shows just how wrong-headed McCullers views of Shakespeare are by citing the critic Martin Carson, who says Elizabethan and Jacobean audiences shared a universal, instinctive desire to see violence repaid with violence (qtd. in Williamson 89). ? _____6. One authority explains that the most notable English example of this form is Thomas Kyd’s The Spanish Tragedy (c. 1587), a play which helped formulate the conventions of this genre and to which Shakespeare’s adaptations are frequently compared. _____7. Williamson, in the article Shakespeares Take on Revenge Tragedy, published in the journal Shakespeare Quarterly, argues, While there are, of course, other avenues to achieve revenge, violence is the means that most satisfies the audiences need for balance and closure (89). _____8. While most readers do see elements of revenge tragedy in Hamlet, Critics do not agree on the extent to which Shakespeare’s treatment of revenge adheres to or diverges from the standards established by Kyd and others (Elizabeth 89). ? ? _____9. Since revenge is a central theme in Hamlet, it is important to note that Recent commentary on the question of revenge in Shakespeare’s plays frequently alludes to the dramatic genre known as revenge tragedy, a form that achieved widespread popularity in the late Elizabethan and Jacobean period (Williamson 89). ? _____10. Williamson points out that Recent commentary on the question of revenge in Shakespeare’s plays frequently alludes to the dramatic genre known as revenge tragedy, a form that achieved widespread popularity in the late Elizabethan and Jacobean period (89). ? _____11. While it is certainly true that Critics do not agree on the extent to which Shakespeare’s treatment of revenge adheres to or diverges from the standards established by Kyd and others (Williamson 89), most astute readers know Hamlet is the greatest revenge tragedy of them all. _____12. Williamson makes the point that despite disagreements over what his works may reveal about the dramatist’s attitude toward revenge, scholars uniformly regard Hamlet and Titus Andronicus as the plays that come closest to the revenge tragedy model (89). ? _____13. It has been argued that Despite disagreements over what his works may reveal about the dramatist’s attitude toward revenge, scholars uniformly regard Hamlet and Titus Andronicus as the plays that come closest to the revenge tragedy model (Williamson, pg. 89). ? _____14. Critic Martin Carson makes the point that regardless of moral or religious injunctions against personal vengeance, Elizabethan and Jacobean audiences shared a universal, instinctive desire to see violence repaid with violence (qtd. in Williamson 89). ? _____15. Williamson points out that Critics do not agree on the extent to which Shakespeare’s treatment of revenge adheres to or diverges from the standards established by Kyd and others. (89)Show more
