ENG 125 CVCC Heart of Darkness Annotated Bibliography Create 5 annotated bibilography from any of the 6 sources below. Please follow the format below. Has

ENG 125 CVCC Heart of Darkness Annotated Bibliography Create 5 annotated bibilography from any of the 6 sources below. Please follow the format below. Has to be exactly like the example below for full payment. Must use MLA formatting

Please find an explanation and sample annotated bibliography below. The example presents C through A- level annotations. The last two samples are the best of the four examples but they both can be improved for clarity.

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What is an Annotated Bibliography?
Clarify 2 Points from the beginning

Decide which format you should use to identify your sources in your bibliography. For this class we use MLA formatting. Determine what kinds of information your annotation should emphasize.

Summary v. Evaluation

Summary is a brief, neutral statement in your own words of the thesis or main argument in the source.

Evaluation is a judgment of the source generally assessing its accuracy, reliability, or relevance in relation to your research question

Your Goal
Read critically. Convey clearly your understanding of the source (I provided your sources in Course Materials section) and how it relates to the essay you are writing (Essay 3)

Recommendation
For best results combine summary and evaluation in creating your annotated bibliography

Sample Annotated Bibliography

Miller, Jacqueline T. “The Writing on the Wall: Authority and Authorship in Chaucer’s House
of Fame.” The Chaucer Review, V. 17, No. 2 (1982): 95-115. Web.

Miller discusses the hierarchy of dreams, the effect of dreams on the authorship, and the influence of Macrobius’ commentary on much of the dream vision literature of that time period. She sets out to “investigate the concepts of authority and authorship around which medieval dream theory centers, and then to examine the ways in which Chaucer’s exploration of these concepts informs and may help to explain one of his most popular yet baffling dream visions, the House of Fame” (Miller 96). This will be useful to my overall project because House of Fame is a dream vision, and I think it’s helpful to explore the medieval concepts of dream vision, and it is particularly relevant to the theme of authority that is resonant in House of Fame.

Ruggiers, Paul G. “Platonic Forms in Chaucer.” The Chaucer Review, V. 17, No. 4 (1983):
366-381. Web.

Ruggiers claims that the poet can convey knowledge to an audience though he has no conscious knowledge of what he teaches. He spends most of the article discussing Platonic Forms and how they’ve influenced Chaucer’s writing. A technique that Chaucer often uses is that in which he describes the fact that he is uncertain of his knowledge except that he knows that he may have read it in one of his books, or learned it from someone much wiser than he. This technique coincides with the ideas that Ruggiers puts forth in his article.

Teske, Roland. “Augustine’s Philosophy of Memory.” Cambridge Companion to Augustine.
Cambridge: Cambridge University Press, 2006. Print.

Teske explains Augustine’s idea of memory and its similarities with the holy Trinity, which is another element that will be particularly helpful to the formation of my thesis. Augustine says “These three are not three lives, but one, nor are they three minds, we speak of in relation to itself, but when we call it memory, we speak of it in relation to something else” (155). Augustine seems to realize his belief in the Trinity through his analogous approach to memory. The idea of the Trinity shows the Christian idea that of an omniscient God who is the beginning, middle and end, likewise memory amalgamates past, present, and future images or ideas in a human mind. Chaucer plays with memory in House of Fame as well, and this is how he deals with his problem with time.

Zieman, Katherine. “Chaucer’s Voys.” Representations, No. 60 (1997): 70-91. Web.

Zieman discusses Chaucer’s voice in his retelling—translation of course—of Virgil’s Aeneid, and how he recreates it poetically. She asserts in her article that “Virgil’s Aeneid is not an arbitrary choice of source…when Chaucer chooses to Virgil as his initiating source, then he invokes not only a canonical text of a Latin auctor but also a text that has been defined as constitutive of literary language itself” (81), which implies that Chaucer’s use of an established authority somehow qualifies his work because he successfully re-tells the story using a poetical technique that he invents which seems to turn into itself as it is reflective of him remembering what he will say—recitation. This is particularly fascinating because it calls attention to Chaucer’s clear obsession with time, and his use of past works in his—then—present work puts him in a space between the past and the present which is not clearly definable.

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