evaluation essay 41

For this assignment, you will write your evaluation essay. You are required to submit only your final draft for this assignment (though we encourage all students to take advantage of the additional feedback a draft can provide). Use the grader’s feedback and the rubric to make revisions to your draft before submitting the final. Your second draft will be graded.

Now that you have completed Mary Shelley’s Frankenstein, you are in a good position to consider what critics have written about the novel. You will need a total of two critiques (also known as critical analysis essays) for this assignment.

First, use the selection of links below to locate a critical analysis essay written about the 1818 version of Mary Shelley’s novel. You may focus most of your attention on this first critique. If the author of your critique is not specified, focus on the publication of the critique.

Choose from among these sources:

  • Romantic Circle’s Critiques:
    • Critique 1
    • Critique 2
    • Critique 3
    • Critique 4
    • Critique 5
    • Critique 6
  • Professor Naomi Hetherington’s critique

The questions in the study guides should have helped you evaluate this criticism in your head. Now it’s time to write it down!

Your evaluation may go more smoothly if you approach the guiding questions in this order:

Evaluate the critic/author:

Who wrote the criticism you read? What credentials does the author have? (If you are using a valid source, you should be able to find these easily)

Find the thesis of the article:

What is the thesis of the critical article you’ve chosen? What point does the author want to make about Frankenstein?

Evaluate the thesis:

Do you agree with this thesis? Why or why not? We’ve covered many ideas in the study guides. Can you find points within the guides that support your agreement or disagreement with the critical writer(s)? Look for new supporting information rather than revisiting the same ones the critics have chosen.

Evaluate the support:

Whether you agree or disagree with the thesis, does the critic provide sufficient research from the text and outside references to make a strong case? What does the article have for support from the text or outside sources? In your opinion, what makes these references valid? Do you feel the author uses this support properly?

Next, locate a second critique about the novel that includes ideas somewhat similar (genre classification, for instance) to any of the discussions you have in your essay. The second critique can either support or refute any of the claims in your paper. The objective of this portion of the essay is to further support your opinion of the primary critic’s thesis or support. Therefore, for example, if you choose a secondary article that refutes any of your claims, you will need to counteract those ideas to bring the focus of your essay back in alignment with your essay’s thesis (your personal opinion of how the primary critic is either correct or incorrect in his or her thesis claim and/or how the first critic is either effective or ineffective in his or her support). Every discussion in this essay should ultimately support the claim you make in your thesis.

For instance, if the first critic argues that Shelley’s writing is juvenile, and if you agree, does the second critic also support this thesis? How so? If the second critic does not support your assessment of the first critic’s thesis, what evidence can you use from the text to argue that the second critic is incorrect? Consider another example: if the first critic believes the novel is autobiographical, and if you disagree, does the second critic help you argue your own view of the first critic’s thesis? If so, how? Perhaps the second critic disagrees with your view and feels the novel is autobiographical– if that’s the case, be prepared to use evidence from the text to refute the second critic’s thesis and support your own argument. Using two critiques in this way will allow you to create a polished, comprehensive Evaluation Essay that allows you to connect your own ideas to those of seasoned critics.

In addition to addressing each of the evaluative components above, develop your essay so it has a clear introduction, body, and conclusion. You must include an evaluative thesis statement in both the introduction and the conclusion. Ensure that each of your claims is supported with valid evidence from the literary criticism you have chosen; the novel, Frankenstein; and/or the study guides.

Using proper MLA style, insert parenthetical citations for all borrowed information in addition to a Works Cited page for Frankenstein and your chosen literary critiques; you are not required to cite the study guides if you use them.

Helpful Hints: For a thesis statement, try answering a question like: How and how well does this piece of criticism state and support its argument regarding Frankenstein?

You might use these as possible guidelines in crafting your thesis statement:
(Critic, aka author of the critique) uses (add critic title) to (add an adjective to describe the effectiveness of the argument such as “adequately” or “inadequately”) argue that (add critic’s thesis) by (explain why and/or include your support).
(Critic)’s (add critique title) (add an adjective to describe the effectiveness of the argument such as “adequately” or “inadequately”) argue that (add critic’s thesis) because (explain why and/or include your support).

More specific thesis examples:

John Smith uses “Frankenstein Critique Essay” to adequately argue that Victor’s mother created the first monster by coddling Victor as a boy.
John Smith’s “Frankenstein Critique Essay” does not effectively argue that Victor’s mother created the first monster because the novel Frankenstein too strongly supports inherent good or bad, which means nurturing roles cannot be held responsible.

The guidelines for this assignment are:

Length: This assignment should be a minimum of 3 typed pages or at least 750 words.

Header: Include a header in the upper left-hand corner of your writing assignment with the following information:

  • Your first and last name
  • Course Title (Composition II)
  • Assignment name (Evaluation Essay, Writing Assignment 4)
  • Current Date


  • MLA-style source documentation and Works Cited
  • Your last name and page number in the upper-right corner of each page
  • Double-spacing throughout
  • Standard font (TimesNewRoman, Calibri)
  • Title, centered after heading
  • 1” margins on all sides
  • Save the file using one of the following extensions: .docx, .doc, .rtf, or .txt

Underline your thesis statement in the introductory paragraph.

Reminder: You need at least two critiques in addition to the novel in Works Cited in order to receive the highest score. In other words, you need three sources total in cited in the essay and on the Works Cited page in order to earn the maximum points in the corresponding column on the grading rubric. Failure to meet the source minimum will result in a severe decrease in your grade.


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Capstone/capsim simulation competition experience only-must have

Looking for someone with advanced knowledge in the Capstone Simulation/Competition coursework through Capstone website.  Must be familiar with the Capstone Webb Application as the work is completed there.  Multiple assignments and simulation coursework. 
Example of Course work to coincide with Simulation work:
Prepare a policy position that addresses the issue, “Does it make sense to invest in the productivity improvements offered by the HR module?”
Suppose that you apply the maximums to recruiting and training. Here are the costs:
1.                  Recruiting costs per new worker are $5000.
2.                  Each employee trains 80 hours per year at $20 per training hour
3.                  Workforce complement increases by 4.2% to cover the 80 hours people are in training.
For this exercise you need a spreadsheet and both the Capstone Courier and Annual Report. Use the Round 2 reports for the analysis. Human Resources statistics like workforce complement and turnover are on Courier page 12. Use Annual Report Income Statement’s total Labor cost to estimate payroll costs.
Assume the following productivity payoffs:
1.                  Round 1 – 102%
2.                  Round 2 – 105%
3.                  Round 3 – 108%
4.                  Round 4 – 112%
5.                  Round 5 – 115%
6.                  Round 6 – 118%
Therefore, in Round 6 each worker would be 1.18 times as effective as the beginning worker, and your workforce complement would fall to 1/1.18 or 85% of its current level.
For a quick evaluation, assume your total labor expenditure from the Annual Report Income Statement will stay flat for the next six years.
How much of a cost savings might you expect in the sixth year? For example, if the total labor costs on the Income Statement says $29M, and costs stay the same for six years, then in the last year your costs would fall to $29/1.18 M. Apply the same approach to years one through five to get a total savings over time.
Would this justify the necessary expenditures in recruiting and training made over time? Assume a turnover of 10% and no increase in workforce size. Since you are sending workers to training for 80 hours or two weeks each year, you also need to expand the workforce enough to cover the workers that are in training. We are looking for a ballpark answer, not a precise answer, so that you can decide whether or not a payoff in HR productivity justifies the expense.
So far we have assumed our workforce and labor contracts are constant. In practice the market is growing at about 14%, and your labor contract has a 5% wage escalator. How does this affect the numbers? At what level, if any, would you recommend that your company invest in recruiting and training? Are there any factors beyond the simple numbers that should be considered?
Length: 1 – 2 pages of analysis not including title page and references as well as all of the calculations that you generated to come up with your solution.
Your response should demonstrate thoughtful consideration of the ideas and concepts presented in the course and provide new thoughts and insights relating directly to this topic. Your response should reflect scholarly writing and current APA standards. Please use at minimum of three outside scholarly sources for support.



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Could a person born blind understand perspective? Remember, touch is not subject to perspective projections; vision is the only sense that must deal with 3D to 2D projections.

I want to use this discussion to consider perception, one of the major themes of this class.

Back in Chapter 6, we considered the problem of “space perception”, which is the problem of how we can visually perceive a 3D world given only 2D input. The retinal image is like a photograph, it is a 2D snapshot of the world. One solution involves touch. The idea is that touch has “privileged access” to the 3D nature of the world, because the input is inherently 3D, not 2D as with the retinal image.

This theory caused a philosopher named William Molyneux to pose a question in a letter he wrote to John Locke. He noted that it was, of course, normal for a person born blind to be able to distinguish the 3D shapes of objects via touch. For example, a blind person has no trouble distinguishing between a cube and a sphere held in the hand. However, what if this person was somehow given the ability to see? If we sat this newly seeing person down at a table and placed a cube and a sphere on the table before him, and without letting him touch them, would he be able to recognize the shapes? Recall that according to the aforementioned theory, 3D shape and depth perception requires learning to see in 3D by coupling touch experience with visual experience, that is, by looking at and touching things at the same time. Here’s the wikipedia article on Molyneux’s problem:


To help understand this problem, consider the cube in image found at this link:


The image is 2D. But we see it as a 3D cube. What shape are the sides of the cube? They are all square, of course. At least, that is how see perceive the sides. But what shape are they in the 2D image? The front and rear faces are square, but the sides of the cube are actually parallelograms in the image. Representing a 3D square as a 2D parallelogram is called a “perspective projection”. So the problem, for vision, is to learn how to deal with perspective…how to understand that the parallelogram is really a square. So, supposedly, touch is required in order for the visual system to learn this. Note also that the touch system is not subject to perspective problems, and that is why it is seen as having privileged access to 3D shape. When you touch the cube, all of the faces are registered directly by the fingers as square shapes, they never feel like parallelograms. So when you touch and look at the cube at the same time, you feel that all sides of the cube are square, and this tells this visual system that the sides that “look like” parallelograms are really squares. So if you read the wikipedia article on Molyneux’s problem, you’ll see that Locke and Berkeley agreed that the answer was “no, the person would not be able to visually recognize the objects”. Surely Lotze, with his theory of local signs, would agree. And Helmholtz, who argued that prior experience is needed, would also agree. However, Kant emphasized that 3D perception came from the innate categories of thought – so to whatever degree this is true, learning would not be required and Kant might say the answer is “yes, the person would recognize them.”

While it has not been possible to test the question scientifically because very few people are born blind, and for those that are, it is not possible to just “flip a switch” and “turn on” their eyes and ask them this question. But consider a different question. Could a person born blind understand perspective? Remember, touch is not subject to perspective projections; vision is the only sense that must deal with 3D to 2D projections. So the empiricists would say “no, a person born blind could not learn about perspective.” A rationalist might say “yes, because innate knowledge about depth would allow a blind person to understand perspective.” Consider these paintings:

http://esrefarmagan.com/gallery/ (Links to an external site.)

They portray depth in perspective, including the cues of linear perspective, relative size and atmospheric perspective. These paintings were made by a man born blind, who received no education, especially none about art and perspective, and who figured out how to draw like this entirely on his own. More info about him here’s

http://esrefarmagan.com/biography/ (Links to an external site.)


A psychologist at the University of Toronto made this video about him:


So what do you think? What do you think is the answer to Molyneux’s problem? Or to this other problem: how does a blind person learn to understand perspective?

edit: Esref Armagan’s site has recently been suspended, so for now the links to his painting gallery do not work. For now, try this link:



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answer in 1-2 sentences:

Imagine that you work for a company that sells three (3) major products and has traditionally been conducting business within the U.S. The CEO asks you for your thoughts on setting up an organizational structure that could facilitate foreign expansion of the company. Determine the key issues that you would discuss with the CEO regarding the company’s international strategy before you make any recommendations. Recommend which one (1) of the three (3) strategies (emphasis on global, emphasis on location, or emphasis on global learning) should be used for foreign expansion of the company. Provide a rationale for your response.

Examine two (2) potential risks that could adversely affect operational effectiveness of U.S. multinational corporations that have plans to do business in Cuba. Recommend strategies that could help the companies mitigate these risks. Provide rationale for your reasoning.


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