Acceptance of Werewolves into Society
The proposal is submitted following MLA format as with other academic papers. The only difference is that it will have headings for each of its 4 components. See components and grade weight below:
1. Working Title (10%): think of a title that captures the attention of the reader, while also focusses on what you intend to do in the paper. This does not have to be the final title you choose eventually for your paper, but it helps you stay focused.
2. Working Thesis (20%): write a statement of purpose (thesis statement) that presents your main argument, its worth, and how you think you will prove it. As with the working title, this is a draft thesis to start your planning and thinking of the final paper.
3. Background (20%): in 200-400 words, explain your topic, why did you choose this work of literature, what background information you have on it, what sparked your interest in the theme from within our class discussion, what you wish to accomplish, etc.
4. Annotated Bibliography (40%): list your primary source and at least 5 secondary sources from peer-reviewed publications, following each source with a 50-100 words summarizing its main argument and why you believe it to be useful for your research. List titles alphabetically and in MLA format, following each title with the annotation in a paragraph indented by 1”
The remaining 10% is dedicated for language and format.
Refer to the Research Paper Assignment Sheet for more information on the paper itself, and to Proposal and Bibliography Sample to ensure proper formatting and structure. All material is available in course resources on Moodle.
MLA Format – 9th edition – 2021
1. Name, Instructor’s name, course number and title, date on upper left
2. Title centered, each word starts with capital letter
3. Last name followed by page number on upper right header (0.5” below top)
4. Use clear font such as Times New Roman or Arial, size 11 to 13
5. Double-space the whole paper, with no extra space between paragraphs
6. Set 1” margins on each side
7. Align all to left (do not justify)
8. Indent first line in each paragraph by 0.5”
9. Add one space after end punctuation
10. Titles of long works (books, movies, plays) are italicized Titles of shorter works (poems, stories, articles, tv episode) inserted in quotation marks.
11. Authors and titles mentioned in full on first appearance, then by last name (and shorten version) in subsequent appearances
12. Quotes longer than 4 lines (or dialogue, or more than 3 lines of poetry) are set in separate paragraph, indented 0.5”, without quotation marks, with no special indentation for first line, with the paragraph that follows also not indented, as it is part of the paragraph of the quote itself
13. Citation placed at end of sentence (even when quote is in middle of sentence), before the period (except for block quote where it is after the period)
14. Works Cited title centered on new page
15. List sources alphabetically, hanging by 0.5” as follows (see sample Works Cited page)
Author Last Name, First Name. “Article/Story/Poem Title.” Book/Movie Title. Editor/Translator First and Last Name. Publisher, Year.
Author Last Name, First Name. “Article Title.” Journal Title, Volume, Issue, Date, Pages/URL.
Editor/Translator First and Last Name. Publisher, Year.
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Research Proposal: Acceptation of Werewolves in Society
Working Title: Acceptation of Werewolves in Society
Working thesis: There is a general acceptance of the werewolves in today’s society because what generally appeared strange or “queer” in the traditional system is becoming widely acknowledged.
Background: For many years, even before recorded history, the idea and beliefs surrounding werewolves existed. As defined by Stebbins (2017), a werewolf refers to beings who can transform between humans and wolves (Stebbins 1). Research indicates that the ideals of lycanthropy (mythical transformation of a person into a wolf) have persistently dominated the human mind and, for a significant period, and manipulated people’s perceptions about the environment, their societal understandings, and their physical norms, thus dictating much of their day-to-day living. As seen through written and non-written history about werewolves, the perspective presents a big question that continues to be explored in fiction and non-fiction today: are werewolves good or evil? This question has received wide attention over the years. Many writers and occultists agree that werewolves are generally malevolent (having or showing a wish to commit evil things to others).
Arguably, a significant majority has a general understanding that werewolves are insane beings, with authors such as George and Bill (2019) arguing that werewolves are naturally situated within themes such as divided self, monstrosity, and liminality (George and Bill 1). Influenced by the much research that portrays werewolves negatively, the society has refused to excuse werewolves from the negative stigmas, arguing that they are undesirable and had their benevolent or positive qualities abandoned in favor of their unpleasant aspects of violence, gluttony, ferocity, and evil. Historical evidence indicates that there has been a false representation of wolves. As a result, the relationship between man and wolves suffered, and to this very date, wolves are heard more than they are seen because the ruined relationship between man and wolves almost led the animal to near extinction.
Fittingly, the monovalent and benevolent portrayal of werewolves is slowly getting integrated into society, with some of these behaviors openly being embraced by humans. There is general acceptability of the werewolves in the society because what generally appeared strange or "queer" in the traditional system is becoming widely acknowledged in a modern system. Arguably, the limiting notions surrounding werewolves presented an awkward situation for men, thus forcing and acceptance of werewolves. Ideally, beyond the restrictions surrounding human existence, the werewolves can act and desire in ways the average man cannot. With the human race in constant reinvention and improvement, everything else changes, including ways of survival, representation, and sexual orientation. In a very complex society like ours, it is clear that when constituent elements of change, including those of gender, wellbeing, and existence, are not made, werewolves or queer identities become the option. In the modern world, people, including LGBT, struggle against the stereotypes of identity and sexuality, and their inner werewolves must develop for them to attain the desired transformation and change.
Over the past few decades, werewolves have become the convenient metaphorical stand-in for behaviors and actions that were initially dreaded. Today’s notions of werewolves have become widely accepted to refer to the non-normative definitions and experiences of identity, including but not limited to sexual orientations. In the medieval age, popular cultures domesticated werewolves by forcing things to work based on standards set by the wider society, including those of heteronormativity. These rigid laws and codes typically made it hard for people to live in harmony as the concept of identities varies from one person to another. However, modern cultures have accepted werewolves as the force towards transforming and attaining self-satisfying identities. In the case of gender and sexuality issues, it is evident that the werewolves that dominate our societies are mainly a result of failed representation, forcing members to pursue other avenues of expression and attainment of identities (Giacopasi, 2).
Arguably, when social coding cannot allow people to enjoy their lives as desired, the codes of the beast or wolf become the options. In any society faced with challenges, acceptable outlets for aberrant behaviors lies outside humanity. Hybrid identity becomes the norm where people transform from human to man-wolf to pursue their desired identities. As argued, the refusal by the society to bring change, for example, in gender roles, equality, and jobs, among others, marks the rise of the werewolf monster behaviors to arise among people. The physical werewolf of the medieval era has not changed much except that today’s werewolves are more sentient creatures struggling for a place in humanity.
Society has widely accepted to look at things from a werewolf’s perspective. As humans, we exist in a world where the formally monstrous and malevolent behaviors attributed to wolves are now the day-to-day relatable and contemptuous of civilization motivated strongly by bitterness and hunger (Hill 79). As such, as a more flexible society takes shape, there is a high embrace for werewolves as it is through it, people get to fight for desirable identities. People are becoming more comfortable with their newly formed hybridity and therefore have the least desires to become human. We live in the 21st century, “a dog-eat-dog society” where werewolves have gained ground. Our nature as humans reminds us that when things get tough, there is nothing that man would never do to keep surviving or thriving, including the possibility of ripping their neighbors' throats.
Annotated Bibliography:
Allan, Kathryn, and Ria Cheyne. "Science Fiction, Disability, Disability Studies: A Conversation." Journal of Literary & Cultural Disability Studies 14.4 (2020): 387-401.
In this article dubbed "science fiction, disability, and disability studies," Allan and Ria start up the conversation by questioning some of the ills in science fiction. As argued, science fiction has suppressed history, emerging media, and liminal voices for many years. From their perceived conversation, gendered, racial, classed, and sexual hierarchies have been constituent groups in the development of science fiction. However, key groups such as queer, feminist, women, LGBTQIA, and people of color remain key groups underrepresented in the science fiction genre. Additionally, disability remai...