Visual: Slide changes to the title of the webinar: Essential Elements for Writing Annotated Bibliographies and includes the presenter’s name, picture, and role: Max Philbrook, Writing Instructor, Walden University Writing CenterĪudio: My name is Max Philbrook, and I am a writing instructor here in the Writing Center. It is my pleasure to be presenting this session to you called Essential Elements for Writing Annotated Bibliographies. Thank you very much, Kacy and can you confirm you can hear me okay? So, thank you again so much for joining us and I will turn things over to our presenter Max Philbrook. If we run out of time, however, or if you've questions later, you can send them to and you'll get a response through email.įinally, if you encounter any technical difficulties, feel free to reach out to me in that Q&A box or there is that help button in the upper right-hand corner of the webinar screen which is the Adobe Connect help button so that's often the best place to start out. I will be watching the Q&A box throughout the webinar and will answer questions as quickly as I can. There will be a lot of information on the webinar and if you have questions you can use the Q&A box. That’s where you will find a copy of the slides for this presentation. We also have a few helpful files in the files pod which you can download by clicking on the "download files" bottom at the bottom of the pod. All the links on the slides are interactive so you can click directly on them for access to more information now or later if you access the recording. There will be several chances to interact with your colleagues and our presenter, Max, so be sure to participate in the session using the large chat box just like you did before the webinar started. You will also find many other recorded webinars on different writing related topics. And before we get started on the webinar about annotated bibliographies, and I hand things over to our presenter, Max, I just wanted to go over a few housekeeping items.įirst of all, this webinar is being recorded and in a day or two, you will be able to access it through our website, so if you have to leave early or go over any portion of this webinar again later, you can check out that recording. My name is Kacy, and I am a writing instructor calling in from St. Choose “Help” in the upper right-hand corner of the webinar room.Īudio: Hello everyone and thank you all so much for joining us for our webinar.Later: Send to or visit our Live Chat Hours.Interact: Polls, files, and links are inteactive.Recording: Will be available online within 24 hours.Visual: Opening slide is titled Housekeeping Interview, expressed in a simple and direct manner, which assisted my understanding of her approaches to The Return of Martin Guerre.Transcript last updated Wednesday, August 19, 2020 Entertaining to read Davis’ thoughts in the form of an The influence on Davis when observing Gerard Depardieu assume his role for the movie. 3 (1986): 229-241.ĭavis makes clear her intentions to depict the story of Martin Guerre as one revealing many ambiguities. “Inventing Martin Guerre: An Interview with Natalie Zemon Davis.” Southern Review 19, no. This article informed much of my approach to Davis’ interpretation. More complexity to her characterizations. In this article, Davis thoroughly defends her interpretation of the Martin Guerre story, outlining the reasoning behind her approaches, and contributing References to ambiguities which create a large number of interesting and innovative approaches to the study of sixteenth-century French peasantry.ĭavis, Natalie Zemon. A valuable contribution to the understanding of the Martin Guerre story, with considerable detail and This narrative is the main focus of my argument. The citations are formated using the Chicago Manual of Style 16th edition.ĭavis, Natalie Zemon. The following entries are adapted from a bibliography prepared by Susan Grujevski for her paper “How successfully did Natalie Davis interpret the "hidden world of peasant sentiment and aspiration" in Martin Guerre?” The citations follow the style of the examples in Rampolla’s A Pocket Guide to Writing in History.
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