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While - As with - After- Because - Like- The way in ... 
Arguments: It is not surprising that Dracula has the neatest death of all. - Dracula, as Head Vampire, must die so that the sexual threat can be banished forever. -Sexuality and anger are closely linked in this scene in particular and in Dracula generally.
Closing Statments: Dracula 's social commentary on the sexual weakness of the late nineteenth-century Englishwoman is frequently mirrored in the ways modern women are depicted, as well. - We continuously rehash the same tropes that Stoker did in 1897 as female morality is linked with female sexuality, thereby creating a system of classification wherein a woman's value is primarily based on her chastity and Angel in the House-like behavior. 
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Wizarding in the Classroom:Teaching Harry Potter
 Wizarding in the Classroom:Teaching Harry Potter
TOPIC SENTENCE
"This article describes teaching a course called" (Deets, p. 741)

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Camila Torres: "I Will Paint You As I First Saw You": Art and Adaptation in Tracy Chevalier's Girl with a Pearl Earring

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Camila Torres: "I Will Paint You As I First Saw You": Art and Adaptation in Tracy Chevalier's Girl with a Pearl Earring

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Main Argument:

"When any novel is adapted into film, the situation presents multiple layers of portraiture: the author's portrayal of the characters, the filmmaker's portrayal of the author's invention, and readers' and viewers' interpretations of both. With Chevalier's novel, however, there are additional layers, because the novel is about a real person, and a painter"(Ross, 2012)

Topic Sentences:

-"As he paints, Vermeer creates a different Griet on canvas than the real girl, and, through the process, the real Griet is changed, as well. The role that art plays in the novel offers a parallel to the creation of the novel and the subsequent adaptation into film--as well as to the creation of historical fiction (on the page or the screen) in general."(Ross, 2012)
-"Art is, first and foremost, a great leveler in the world of the novel."(Ross, 2012)
"Griet's attachment to her new life is not only about the art; it is also about the artist."(Ross, 2012)
-"Eventually, Griet does become the model who is painted, an event that occasions the most significant crossings of boundaries, which are both physical and emotional: first, when her hair is revealed and, then, when her ears are pierced."(Ross, 2012)
-"The novel's title is the same as the painting's title, suggesting a parallel between the creation of the painting within the novel and the creation of the novel itself. Art is at the center of the novel, but the novel is also art, and what the novel suggests about what art can do can also apply to Chevalier's writing of the novel, or to the writing of historical fiction in general."(Ross, 2012)
-"Like the author, readers, too, have their own images of how a novel looks; when the novel becomes visually portrayed in film, it is unlikely to match readers' interpretations."(Ross, 2012)

Transition:

Throughout

Despite

Nevertheless

Eventually

Likewise

In short

By contrast

Closing Statement:

"Though painting, novel, and film share a title, they are not identical. Each experience of portrayal necessarily alters the thing it intends to reveal--just at Vermeer's act of painting Griet changes Griet, Chevalier's writing of the novel changes how one sees the painting, Webber's making of the film changes how one understands the novel, and readers and viewers take painting, novel, and film to "interpret and make their own" (Ross, 2012)

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Kurisisa Lema: Oscar Wilde´s humility: a reassessment of The Ballad of Reading Gaol

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Kurisisa Lema: Oscar Wilde´s humility: a reassessment of The Ballad of Reading Gaol

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Topic sentences:
Oscar Wilde is not an artist we often to associate with humility. We remember him instead as the king of the late-Victorian stage, the outspoken apostle of aestheticism, the brilliant provocateur, and the master of paradox
Transition sentence
Gone is the self-promotion that characterized Wilde's career in the years before he went to prison. In its place is a more chastened, more ambivalent mode of self-assessment.
For critics who prize the drama, criticism, and fiction that made Wilde famous, the radical difference of Reading Gaol cries out for explanation.
Closing sentence
Perhaps there is a Wilde we have yet to know as well. Whether we learn from him will have much to do with whether or not we are willing to revise our basic assumptions, not only about who Wilde is (and was), but also about the role of humility in artistic creation.

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Giuliana Palomeque: Staking Salvation: The Reclamation of the Monstrous Female in Dracula

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Giuliana Palomeque: Staking Salvation: The Reclamation of the Monstrous Female in Dracula

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Main Argument: The concept of the Angel in the House--the pure, virtuous, non-sexualized female--is one of the most monolithic and immobile depictions of Victorian womanhood.
Transitions : But - Moroever - Not only - While - As with - After- Because - Like- The way in ...
Arguments: It is not surprising that Dracula has the neatest death of all. - Dracula, as Head Vampire, must die so that the sexual threat can be banished forever. -Sexuality and anger are closely linked in this scene in particular and in Dracula generally.
Closing Statments: Dracula 's social commentary on the sexual weakness of the late nineteenth-century Englishwoman is frequently mirrored in the ways modern women are depicted, as well. - We continuously rehash the same tropes that Stoker did in 1897 as female morality is linked with female sexuality, thereby creating a system of classification wherein a woman's value is primarily based on her chastity and Angel in the House-like behavior.

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 Wizarding in the Classroom:Teaching Harry Potter

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 Wizarding in the Classroom:Teaching Harry Potter

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TOPIC SENTENCE
"This article describes teaching a course called" (Deets, p. 741)
OPENING STATEMENTS
"Often I have found it challenging to teach students to truly see different sides of contentious issues, appreciate how political science insight can illuminate many aspects of the world around us, and really delve into issues of political culture and the power of identity. (Deets, p.741)
TRANSITIONS
Fiction and film in the classroom no longer usual for political science courses. (Deets, p. 741)
CLOSING STATEMENTS
"When discussing the importance of intellectual property-rights protection in trades regimes, I discovered my students have very strong feelings on what is right and what is wrong in terms of downloading and sharing copyrighted material, although these feelings were disconnected from the actual laws" (Deets, p. 743)

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Sol Revelo: “Other Muggles’ Children: Power and Oppression in Harry Potter” by Victoria Lynne Scholz

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Sol Revelo: “Other Muggles’ Children: Power and Oppression in Harry Potter” by Victoria Lynne Scholz

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Topic sentence:
"Rowling's novels, although set in a fictional part of England in the 1990s, represent the dangers of the current American education climate and serve as a warning to both those seeking to assist oppressed communities as well as to those participating in such oppression" (Scholz, 2018).
Transitions used:

In order to...

The best example...

Despite...

Unfortunately...

In contrast to...

Even though...

Throughout...

Closing statement:
"The application of knowledge presented by various pedagogical texts to a fictional setting can deepen the fountain for both scholars and students..." (Scholz, 2018)

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Tituba´s Story Summary-Carolina Vásquez  Article Main argument: “Although not the only slave caught up in 1692 episode, Tituba has a unique role in the literature about Salem, for her story has taken on nothing short of mythical dimensions” (Rosenthal, pg.190). Transitions: “Subsequent early narratives, such as those by eighteenth century historians Daniel Neal and Thomas Hutchinson, made no reference to the voodoo or storytelling that would come to be associated with Tituba” (Rosenthal, pg. 191). “Upham was a skilled historian, but in Salem Witchcraft he introduced some myths that would become facts for future narrators” (Rosenthal, pg. 192). “The Tituba myth does not, however, spring solely from Upham´s Salem Witchcraft.” (Rosenthal, pg. 194). “Yet, the contemporary interest reflected in David’s gloss suggests a broader and potentially rewarding concern with recovering the historical Tituba” (Rosenthal, pg.196). Topics: “A story by British writer Elizabeth Gaskell entitled “Lois the Witch,” however, offers some intriguing possibilities not found in American sources” (Rosenthal, pg. 192). Closing statements: “Indeed, I have found no written historical or fictional record in America to support Upham´s assertions about Tituba” (Rosenthal, pg. 192). “In the face of this noteworthy trend, a basic point should be clarified: no matter how we choose to define Tituba´s race, her contemporaries were clear about racial classifications” (Rosenthal, pg. 195). “In our periodic visits to her over the centuries, we have learned less about her than we have of ourselves” (Rosenthal, pg. 203). 

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Tituba´s Story Summary-Carolina Vásquez  Article Main argument: “Although not the only slave caught up in 1692 episode, Tituba has a unique role in the literature about Salem, for her story has taken on nothing short of mythical dimensions” (Rosenthal, pg.190). Transitions: “Subsequent early narratives, such as those by eighteenth century historians Daniel Neal and Thomas Hutchinson, made no reference to the voodoo or storytelling that would come to be associated with Tituba” (Rosenthal, pg. 191). “Upham was a skilled historian, but in Salem Witchcraft he introduced some myths that would become facts for future narrators” (Rosenthal, pg. 192). “The Tituba myth does not, however, spring solely from Upham´s Salem Witchcraft.” (Rosenthal, pg. 194). “Yet, the contemporary interest reflected in David’s gloss suggests a broader and potentially rewarding concern with recovering the historical Tituba” (Rosenthal, pg.196). Topics: “A story by British writer Elizabeth Gaskell entitled “Lois the Witch,” however, offers some intriguing possibilities not found in American sources” (Rosenthal, pg. 192). Closing statements: “Indeed, I have found no written historical or fictional record in America to support Upham´s assertions about Tituba” (Rosenthal, pg. 192). “In the face of this noteworthy trend, a basic point should be clarified: no matter how we choose to define Tituba´s race, her contemporaries were clear about racial classifications” (Rosenthal, pg. 195). “In our periodic visits to her over the centuries, we have learned less about her than we have of ourselves” (Rosenthal, pg. 203). 

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ANAHI GUERRERO:"The Pocahontas Story as a Myth of American Heterogeneity in the Liberal Western"  Transition: 

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ANAHI GUERRERO:"The Pocahontas Story as a Myth of American Heterogeneity in the Liberal Western"  Transition: 

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Killsback writes:"The New World has one significant difference from earlier Indian films:Pocahontas's bearing of a mixed-blood child. Miscegenation is somethingthat has never been accepted in America's movie industry. However it ismade clear that the child will be raised in civilization, away from hissavage relatives and the exotic wild. He has traces of his mother'sdementia, but it will be bred out (...)  ". In this passage, Killsback strikes on  the reason for considering both The New World and The Revenant as liberal Westerns
(Savage,  There Was a Veil upon You, Pocahontas": parr 30-31)
James Morrison, however, posits that Malick's film isn't "forgetful" of reality at all: rather that there is another kind of critical work at play. He asserts that, "[i]n The New World, Malick asks us to remain mindful of the fact that things might have gone differently even as the film explains how and why this hope evaporated (Savage,parr 24)

Topic sentences

-In most recent, mainstream iterations of the Smith-Pocahontas fantasy, the aim is to emphasize that something new is (..) (Savage, parr4)
- Where Crane offers a sacrifice to mitigate against the violence that was done to Pocahontas, Malick instead relies on a fantasy of consent and mutuality (Savage,parr 26)
Arguments
There is much that can be, and much that has been, said about ways of reading Pocahontas as the magical naive in this relationship--and about the importance of her relationship to Chief Powhatan in rendering her the truly "noble" savage, easy to read as capable of such fine emotion. What really matters here is that the transformative love-event is offered as an excuse for taking Pocahontas away from her people, coercing her into marriage, repatriation, and eventually death. The ways in which she continues to express loyalty to her people throughout her life, dealt with damningly by Leo Killsback, show up as, at best, endearing quirks in the otherwise authoritatively converted Rebecca Rolfe
Closing statement
Hugh Glass's probably fictional, certainly highly mythologized, and already deceased wife is doubled with Powaqa (Melaw Nakehk'o), daughter of an Arikara chief (Anthony Starlight), to provide the miscegenational family that enables Glass (Leonardo DiCaprio) to stand out as an uncomplicated hero in the eyes of a liberal audience..

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Pamela Valencia: Shelley's Frankenstein as a Book of Love and Despair

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Pamela Valencia: Shelley's Frankenstein as a Book of Love and Despair

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Transitions:

-        “…with the sympathy of love and despair.

The book is about a scientific called Victor…“

-        “At the end, Frankenstein dies and the creature lives miserable.

Shun-liang Chao relates Frankenstein as…“

-        “…for example when Victor rejects his monster but feels a moral obligation to help him.

The author uses romanticism as a tool to deprive the novel from understanding redemption and sympathy…“

-        “…representation of melancholy, discouragement and despair.

In conclusion, the novel is a representation of despair, though and vicious love. “

Topic sentences:

-        Frankenstein as an element of Enlightenment and Romantic love

-        Romanticism as a tool to deprive the novel from understanding redemption and sympathy

-        Shelly shows that love is tough, by representing the monster as a loner

Arguments:

-        Frankenstein as an element of Enlightenment and Romantic love: this is why “the active role of sympathetic love in the moral nature of humankind as a reaction against… regards human nature as naturally evil and vicious“(Chao, S 2019), the author clearly states that sympathy can be seen often in the identification of nature’s moral condition and the absence of it, for example when Victor rejects his monster but feels a moral obligation to help him.

-        Romanticism as a tool to deprive the novel from understanding redemption and sympathy: “Shelley paints a different picture that not only throws into question the power of sympathetic transport to end solitude but turns sympathetic love into a source of suffering.“ (Chao, S 2019)

-        Shelly shows that love is tough, by representing the monster as a loner: with no love or someone that cares for him “… the Monster… expressing his desire to end his life and thus his psychical pain: in what should I seek for sympathy? I am content to suffer alone, while my sufferings shall endure.... No guilt, no mischief, no malignity, no misery can be found comparable to mine" (Chao, S 2019), the monster shares his misery and it’s a physical and psychological representation of melancholy, discouragement and despair.

Closing statements:

-        The novel is a representation of despair, though and vicious love. It engages a moral solution within a sorrowful and solitary quest that Victor creates, his love defies humanity nature and remains out of reach.