ENGL1301 APU Culture & Identity English Literature Rhetorical Analysis Should be 1250-1500 words. Attached the instruction and subject article for writing

ENGL1301 APU Culture & Identity English Literature Rhetorical Analysis Should be 1250-1500 words. Attached the instruction and subject article for writing the essay.Due date is 03/18/2019 Fall 2018 ENGL 1301 Paper 2 Assignment Sheet
(Minimum of 1,250-1,500 words/approx. 5-6 pages—Word count excludes Works Cited.)
DUE: for the in-class Peer Review (M, 3/4/19)—must have completed draft
DUE: final draft by 11:59 p.m. in Turnitin.com (M, 3/18/19)
Expectations:
This is an academic essay, which means I expect to see an introduction, body paragraphs, and a
conclusion. Your paper should be well organized, logical, with a good flow and free of
mechanical (spelling, capitalization, and punctuation) errors.
Preparation:
Proceed through each of the five steps of the writing process: 1) generating ideas, 2) organizing
ideas, 3) writing a first draft, 4) revising, and 5) proofreading.
Directions/Prompts:
Write a rhetorical analysis essay about culture/identity within this primary narrative creative
nonfiction text, Andrea Bennett’s “The In-Between Space”: https://hazlitt.net/feature/betweenspace.
Refer to the primary text and at least one other secondary academic resource (excluding
Wikipedia).
Evaluate the text carefully and exactly based on rhetorical elements, such as diction (word
choice), the rhetorical (Aristotle’s) appeals, rhetorical model (e.g., classical, Toulmin, PragmaDialectics, etc.) fallacies, organizational patterns, etc.
Please include appropriate MLA in-text citations and bibliographic entries on a Works Cited
page for the resources you include in your essay.
Formatting Requirements:
Use 12-point Times New Roman font; have 1-inch margins on all four sides; double-space; and
document and format your work using the most recent (8th edition, 2016) MLA guidelines,
including an MLA heading, page numbers on each page; and a relevant, interesting properly
written title on the first page.
Organization:
Write an appropriate, compelling title. Make sure your essay includes paragraphs with topic
sentences that establish a context. Provide adequate details to develop the main idea. Your essay
must be coherent and logically organized. Consider using sensible (which usually means
chronological) pattern of organization, and make sure you write coherent and unified paragraphs.
Begin your essay with an interesting, appropriate topic and an attention-grabbing, relevant
introduction. As you end your essay, include a sentence/some sentences that creates/create a
sense of closure/refocus(es) the reader’s attention on the main idea, and provide(s) additional
insight for the main idea.
Plagiarism Detection:
To ensure your compliance with the academic integrity and anti-plagiarism policies, your
Turnitin.com Originality Report should be 20% or less.
Scott 1
Tonya Scott
Dr. Scott
ENGL 1301
16 October 2019
Cultural Appreciation
Essay 2 Rubric adapted from https://www.apu.edu/live_data/files/333/rubric_packet.doc
Below Basic (0-5 points)
Basic (5-10 points)
Proficient (10-15 points)
Advanced (15-20 points)
Ideas
Shows minimal
engagement with the
topic, failing to recognize
multiple dimensions/
perspectives; lacking even
basic observations
Shows some engagement
with the topic without
elaboration; offers basic
observations but rarely
original insight
Demonstrates
engagement with the
topic, recognizing multiple
dimensions and/or
perspectives; offers some
insight
Demonstrates
engagement with the
topic, recognizing multiple
dimensions and/or
perspectives with
elaboration and depth;
offers considerable insight
Focus and
Thesis
Paper lacks focus and/or a
discernible thesis
Some intelligible ideas,
but thesis is weak,
unclear, or too broad
Identifiable thesis
representing adequate
understanding of the
assigned topic; minimal
irrelevant material
Clear, narrow thesis
representing full
understanding of the
assignment; every word is
meaningful and
appropriate
Evidence
Little to no evidence
and/or
missing/egregiously
incorrect MLA
documentation
Some evidence but not
enough to develop
argument in unified way.
Evidence may be
inaccurate, irrelevant, or
inappropriate for this
essay’s purpose and/or
some missing/seriously
incorrect MLA
documentation
Evidence accurate, well
documented, and
relevant, but not
complete, well integrated,
and/or appropriate for
this essay’s purpose
and/or few/fairly
incorrect MLA
documentation
Evidence is relevant,
accurate, complete, well
integrated, well
documented, and
appropriate for this
essay’s purpose and/or
minimal/mostly correct
MLA documentation
Organization
Organization is missing
both overall and within
paragraphs. Introduction
and conclusion may be
lacking or illogical.
Organization, overall
and/or within paragraphs,
is formulaic or
occasionally lacking in
coherence; few evident
transitions. Introduction
and conclusion may lack
logic.
Few organizational
problems on any of the 3
levels (overall, paragraph,
transitions). Introduction
and conclusion are
effectively related to the
whole.
Organization is logical and
appropriate to
assignment; paragraphs
are well-developed and
appropriately divided;
ideas linked with smooth
and effective transitions.
Introduction and
conclusion are effectively
related to the whole.
Style and
Mechanics
Multiple and serious
errors of sentence
structure; frequent errors
in spelling and
capitalization; intrusive
and/or inaccurate
punctuation such that
communication is
hindered. Proofreading
not evident
Sentences show errors of
structure and little or no
variety; many errors of
punctuation, spelling
and/or capitalization.
Errors interfere with
meaning in places.
Careful proofreading not
evident
Effective and varied
sentences; some errors in
sentence construction;
only occasional
punctuation, spelling
and/or capitalization
errors
Each sentence structured
effectively, powerfully;
rich, well-chosen variety
of sentence styles and
length; virtually free of
punctuation, spelling,
capitalization errors
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The In-Between Space | Hazlitt
(/)
The In-Between Space
BY A N D R E A B E N N E T T ( /AU T H O R S /A N D R E A- B E N N E T T- 1 )
I understand why people balk at labels. But I think of them—tomboy, butch, genderqueer, MOC—as functional and hopeful.
communication.
at function is
Image from Library and Archives Canada via Wikimedia (https://commons.wikimedia.org/wiki/File:Girls_ice_hockey_team_1921.jpg)
Identity (/category/ identity)
SEPTEMBER 18, 2018
In grade four, our class was located in a portable about a hundred metres beyond the school’s back door. A small wooden porch anked by two
railings and a set of stairs lead up to the portable; it also provided a multi-level platform useful for playing WWF Wrestlemania. One other girl
sometimes played with us, but mostly it was just me and a whole bunch of boys.
push and jostle and launch o the porch onto an unsuspecting crowd of wrestlers.
e goal was to hurl ourselves at each other hard enough to pin—to
e boys weren’t my friends, but they let me play with them.
(Sports is all about numbers.) I had long hair but it was unkempt, and we were in the era of ‘90s Jaromir Jagr—his glorious, curly mullet unfurling
from his hockey helmet in much the same way my dark waves bunched at my shoulders.
at year, I turned nine and was nally allowed to play hockey.
e rst time I knocked over a fellow girl—not on my team—I stopped skating and
helped her back to her feet as my father hollered from the stands. A terwards, my father and my coaches told me to “use my size,” the way it was
useful on the porch behind the portable.
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at year, in school, we played a math game called Around the World,The
based
on times
tables,
in which the goal was to circle the classroom, defeating
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In-Between
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| Hazlitt
your classmates one by one.
at year, drunk on wrestling and hockey and math—a subject I understood to be best suited to real (read: male) nerds
—I requested that my classmates call me “Andy.”
ey did not comply.
I grew up in a time and place—a small town called Dundas, Ontario, b. 1984—when gender roles were binary. I grew up in a place where my
favourite tomboy classmate later ridiculed my unshaven legs. I grew up in a place where, walking to work or the library, people yelled gendered,
homophobic slurs out of their cars at me. I grew up with a mother I thoroughly confused and disappointed, just by virtue of being myself. It’s hard to
say what kind of a person I’d be if these conditions had been di erent. Given these conditions, though, I took refuge in “tomboy.”
*
e word “tomboy” rst emerged in the mid-16th century to describe rude, forward boys. A couple decades later, it began to apply to women—more
speci cally, bold and immodest, impudent and unchaste women. Soon a ter that, the term found the home we’re familiar with, referring to girls who
behaved like “spirited or boisterous” boys. (Men got to keep “tom cat”—super creepy if you’ve ever googled “cat sex” a ter hearing alleyway yowling
in the middle of the night.)
By the time I hit elementary school, tomboy’s denotation had remained similar, but its connotation had shi ted: wanting to be like a spirited and
boisterous boy wasn’t such a bad thing. Second-wave feminism had crested, powersuits had come and gone, and we all understood that embodying
certain aspects of masculinity provided a shortcut—albeit tenuous—to power in adulthood, and freedom in childhood. As Jack Halberstam writes in
his 1998 book Female Masculinity, tomboyism tended, at that time, to be “associated with a ‘natural’ desire for the greater freedom and mobility
enjoyed by boys.” Of course, there were boundaries: eschewing girls’ clothing altogether, or, say, asking your classmates to opt for a more masculine
version of your name.
“Tomboy,” as an adult term, is most o ten applied to straight women who are somewhat masculine or boyish, or maybe “androgynous”—most o ten
applied by the mainstream to masculine people with model-like proportions, proportions that are clothing- exible because they are narrow and
boxy.
e rst sentence of Lizzie Garrett Mettler’s introduction to Tomboy Style: Beyond the Boundaries of Fashion, goes like so: “When I arrived on
campus for my rst day at Brooks School in North Andover, Massachusetts, I was thirteen and as plumb a tomboy as any.” A couple of paragraphs
later, when Mettler describes breaking her collarbone playing eld hockey, she writes that her new Brooks best friend, Kingsley Woolworth,
“decorated [her] sling with Lilly Pulitzer fabric sourced from a pair of my mother’s cigarette pants.”
Mettler’s tomboyhood fashion icons, featured in the full-colour book, are universally thin, generally white, and cover the usual gamut from Coco
Chanel to Patti Smith, Carolyn Bessette-Kennedy and Diane Keaton, with more contemporary additions like Tilda Swinton and Janelle Monae.
My favourite photo is probably the one of Eartha Kitt, in mid-swing, playing baseball. Most of the other photos and icons—not to take anything away
from these women, who are all great women—don’t include people like me. I don’t and can’t see myself in these rich icons: their small breasts, their
bony shoulders, the ease with which a pair of trousers glides past their hips and thighs. Taken together, with Mettler’s narrative, “tomboy” is a way of
being a woman that ts quite neatly into what we expect of “woman”: a conventional BMI, tousled hair, a camera-friendly approach. Bodies with hips
cocked, odalisque’d across the hood of a ‘50s car. Style from brands and stories that are very parochially New York, or what you’d call continental,
European. Style that reaches out to rich woman who want to marry rich men to let them know that everything will be okay: here is a way forward
that will still appeal to the men and women in your social niche.
*
Last year, I was eating lunch at a cafe in Greenpoint, Brooklyn. Behind me, a mom and daughter spoke Polish and waited for their order.
ey were of
a set: both blonde and blue-eyed, similar facial structure, similar feminine clothing styles, similar body types.
When I was very young and could be forced into pu y-sleeved dresses, could be convinced or strong-armed into curls and tights, my mother foresaw
a future where we were of a set. My hair wasn’t blonde like hers, my eyes weren’t blue, my ears stuck out farther from my head than they were
supposed to, but none of these things were immutable.
At eight or nine I began to grow. My body shot up and broadened. My legs lengthened, my belly got round, I became chubby, grew breasts. Next to
my peers, who still looked like children, I felt monstrous. My mom urged the hairdresser to “so ten” my face with feathered bangs. We fought about
clothes. I wanted to dress like the boy from two doors down who wore low-riding shorts and untucked T-shirts; wearing my pants like that, my mom
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said,
would draw attention to my belly. We bought aspirational-sizedThe
clothing.
We put
me on
a diet. I starved and binged. I forgot to close my legs
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when I was made to wear a skirt.
Instead of being of a set with my mom, I resented her as much as my inability to give her what she wanted from me.
“Tomboy” provided me with my rst out. Tomboy o ered a way to pursue masculinity from what felt like a failed female body. I gave up mimicking
girlhood, accepted a ruptured relationship with my mother, and slowly began to build a relationship with my body and my sel ood that wasn’t
based in self-negation.
e world I grew up in—the world we live in now—still places an inordinate amount of pressure on female bodies as
consumable; opting out of femininity, even privately, freed me to see myself as a whole person, and it also freed me to interrogate the legitimacy of
the boundaries I was breaching with my monstrosity. Tomboyhood o ered me a kind of self-acceptance I never got to experience as a girl.
But conventional gender-code breaking—allowed, within boundaries, for girls—ends, too o ten, with adulthood. As Jack Halberstam writes, “If
e
Adventures of Pippi Longstocking, for example), tomboyism is o ten folded into narratives about resisting adulthood; there’s a tacit understanding that
adolescence for boys represents a rite of passage… for girls, adolescence is a lesson in restraint, punishment, and repression.” In popular culture (
with time, a tomboy will grow out of her (his, their) a nity for masculine presentation, masculine-coded pastimes, masculine-coded work.
And so tomboy gets roped in, like everything else, to safety and convention—swanning into simple, elegant, usually white, womanhood. A
conventionally attractive woman devouring a burger in a men’s magazine pro le; an unadorned silk dress.
My masculinity never turned men’s mag icon. I have never been an uncomplicated body in a silky dress; instead, I began to identify with the world
of female masculinity best understood and embraced by queer theory; I pursued masculine-coded work, becoming a bike mechanic; I grew up and,
though I dated men, came to identify as queer.
For over a year, I have had a BuzzFeed video bookmarked on my computer: “What Is Female Masculinity (https://www.buzzfeed.com/karendu/whatis-female-masculinity?utm_term=.klqZkmZgz#.jtX37m3NG)?” I watch it about once a month.
e video starts with identi cations: “I don’t really

identify with anything but if anything I guess it would be butch”; “MOC, which is, like, masculine of centre”; “Genderqueer butch mahoo”; two
“gender-neutral”s; “LHB: Long-haired butch.” Everybody has similar but diverging things to say about masculinity, female masculinity, aesthetics, and
the bene ts and disadvantages of being masculine and female in a world that prizes many aspects of masculinity. Near the end, one of the
participants says, “A lot of times, butch women are blessed with the burden of boobs.
at’s a very funny cross to bear on top of everything else.”
I have large breasts—boobs—and like many people who experience gender dysphoria, I do everything in my power to keep this detail from the
general public (I own a compression vest, surreptitiously wear sports bras under collared shirts, curve my wide shoulders forward in an attempt to
hide myself). O ten, I’m proud of myself and I accept my body. But sometimes, I feel alone, quite alone. I can’t sum up the power of watching
someone express my secret shame as a warmly funny in-joke.
I understand why people balk at labels—why further subdivide the world? But I think of them—tomboy, butch, genderqueer, MOC—as functional and
hopeful.
at function is communication. If I can’t describe who I am in this world—I am who I am, whether or not I can describe it—then I can’t
seek out others like me.
*
Early in 2015, a feminist mom, Meredith Hale, wrote “Don’t Call My Daughter a Tomboy” for the Hu
ngton Post. Hale’s daughter comes home from
school one day and announces that she feels like she is like a boy, and, in fact, a tomboy, because she likes sports. Hale writes, in part, that she had
“been guilty of using the label ‘tomboy’”—but only before she “knew better.” Late last year, feminist Catherine Connors wrote a piece for Her Bad
Mother (later reprinted by Bust) called “Don’t Call Her a Tomboy.” Connors’s daughter, who dirtbikes, self-identi
es as a tomboy. “I wouldn’t call you a
tomboy, sweetie. I think that you’re you,” Connors tells her kid. “And you like a lot of di erent things, and they’re not just ‘boy things’ or ‘girl things,’
they’re things that you like.” Similarly, Hale wants her daughter to grow up embracing her femininity at the same time as she feels free to pursue
whatever sports and pastimes draw her attention.
Eventually, Connors comes to the conclusion that these ongoing conversations are not really about tomboys, a ter all—they are about feminism.
girls and boys can contain multitudes.
at gender stereotypes must be challenged.
at
at parents must contest the ways in which society—with its
pink aisles and camo prints—boxes in boys and girls.
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Has
our conception of gender changed so much that the in-between space
that was so
useful
for me as a child—that is useful for me as an adult—is
no longer necessary? A ter mulling over these pieces—and, more broadly, the di erences between mainstream feminism and queer feminism—for
more than a year, I wish there was room to embrace both tomboy and the ght to move beyond gender stereotyping. I wonder: how would I have felt
if I received these messages from my mother? What if, instead, we outlined for kids like these that girls and boys can do and like and be who they
want—but if they’re not a girl, or not a boy, that’s okay, too?
I have done a lot of work to disentangle myself from misogyny—to embrace my own femininity, to move past the ways in which I had rejected
femininity broadly because it had been foisted upon me. I can’t help but feel that mainstream feminism has not done the same amount of work to
understand genderqueerness, to understand complex trans identities. Why, otherwise, would you call to kill a term that still holds some usefulness
for me, and others like me? If the world has told us for much of our lives that we are not quite women, and, moreover, “girl” and “woman” never
quite t, is it our responsibility to forcibly expand girlhood and womanhood until it grudgingly accepts us? Can I not just be woman-adjacent in
peace?
Identity exists at the crux point of internal and external pressures—who we feel we are, and how others see us. Far from being discrete, one feeds
into the other. I have no way of knowing how I’d feel if I hadn’t spent my youth feeling shamed into, and failing at, femininity. I wouldn’t be a
feminine woman, but maybe…
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