...The Problem with the Color-Line Paper Robert A. Powell HIS 204 Ms. Katie Filbeck November 10, 2012 The Problem with the Color-Line Paper Arguably, race has been the most endemic division in American politics and policy. Although class is the essential construct in understanding American economic life and the workplace, Americans often think of themselves as workers, managers, and owners. Class remains the elusive little secret in American political life. Indeed few, if any, important political conjunctures in American history have crystallized around American workers acting as a class-conscious political force. I will briefly inform you on the state and national policies that entrenched the color-line through the First World War. I will conclude my paper by talking about how racial ideas played into the acceptance of immigrants within U.S. culture and as a justification for U.S. imperialism into the 1920s. The first couple of decades in the twentieth century were some of the low points for African Americans since the end of the Civil War. America was always viewed as a role model for democracy to the rest of the world. Little did they know about the problems that were hidden from the public. America was battling racial and gender equality. Women had long been battling issues such as the right to vote in the political system and the types of jobs they were able to hold. Our text stated that “a typical life path for a woman of this...
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...This chapter “Reworking the Color Line”, within Douglas S. Massey’s book Categorically Unequal shared how the Congress of the United States started to shape the possible equal opportunities’ for those of color of the United States. The chapter has stated the United States tempt to fix the restriction placed die to race during and after the Civil Rights period. Within the 1970’s as stated by Massey, congress try to rework the color lines and give all of the nations people equal opportunities and choices. The congress started by outlawing the practice of redlining, which is the practice of denying mortgages to people of color. These type of practices had basically deny the rights to achieve a better living for African Americans which held them...
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...America Beyond the Color Line Shanna Armstead ETH/125 1/20/2013 Lydia Kerr The video America Beyond the Color Line: Streets of Heaven gives people an outlook on life in a housing project in Chicago. It shows examples of how black people struggle to survive in the environment or to get out of it. This video gives good insight on the mindset of individuals who only this way of life. Dr. Henry Louis Gates delved seep into the lives of the people and exposes what it is like to grow up, to live, and to escape this type of environment. In the beginning of the video it offers the statistics of the African American community. These statistics stated that one in five Black men in their twenties is in prison on probation or parole, sixty-nine percent of all Black children are raised in a single-parent household, the average lifespan for an African American man is 59, and only 45 percent of Black adults are working in any given week. I believe that the real life stories from the video support these statistics. The video itself showed examples of each statistic. When Dr. Gates visited the prison the video showed mostly black men behind those bars. In his interview with Eric, Dr. Gates asked him why he thought so many black men were incarcerated and he told him that it was because of the lack of positive role models in the black community. When interviewing Marlon, Dr. Gates asked how old he was when he started selling drugs and Marlon said “fifteen”. The statistic that says...
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...America Beyond the Color Line: Ebony Towers Transcript Speakers: Announcer, Henry Louis Gates Jr., Colin Powell, Russell Simmons, Maurice Ashley, Richard, Student, Student 2, Daniel Rose, Vernon Jordan, Milton Irvin, Walt Pierson, Donna Pierson, Melody Irvin, Franklin Raines, Dr. Lenora Fulani, Guide, Pam Louis, Student 3, Student 4, Student 5, Businessman, Businesswoman, Student 6, Student 7 (Music) ANNOUNCER: This program was made possible by contributions to your PBS station from viewers like you. Thank you. (Music) HENRY LOUIS GATES JR.: This is Harvard University, for well over three centuries one of the nurturing wombs of America’s ruling class. When I was growing up in the fifties, I could never have imagined that one of Harvard’s most respected departments would be this one, the Department of Afro-American Studies and that I would teach here. I’m trying to get black history month to be every month. Most of the kids that we teach at places like this are the children of the middle class, the children of people like me. I mean, I am teaching my classmates’ children. Our experience at Harvard is just one instance of a much larger phenomenon. (Speaking in background) In the past few years, African Americans have been achieving in ways that no one, black or white, could ever had dreamed possible a generation ago. We now have African Americans at the heart of government, at the top of the world’s largest corporations, the military, education. Virtually...
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...The article, “Drawing the Color Line,” claims that slavery in AMerica was a result of a historical force, and not nature. This historical force included various factors: colonist’s starvation, jealousy of the Indian’s success, need to feel superior, the African’s displacement, profit from plantations, and the separation of serfs and slaves. Early on, colonists went through the “starvation time”(Zinn 1) where many died, and after that winter they still struggled to harvest enough food to survive as they needed a larger work force. They could not use Indians because they were too defiant and they better understood the land, so they turned to African slaves who were removed from their homeland, and people. “ The blacks had been torn from their land and culture, forced into a situation where the heritage of language, dress, custom, and family relations was bit by bit obliterated except for the remnants that blacks could hold on to by sheer, extraordinary persistence.”(Zinn 2) Colonists could better control a group of lone slaves than a tribe of Indians....
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...In Howard Zinn’s Drawing The Color Line he brings up not only the reason behind slavery but why it was implanted in the first place. He proposed that slavery will be incorporated if it “is practical and profitable”(Zinn 3). Another thing that he brought up was the time before slavery was really implanted into the Americas. In this reflective essay we will be looking at these two aspects of Howard Zinn’s Drawing The Color Line and how they repeat to the driving question, What are the historic patterns within the relationship between the majority US culture and minority cultures, and how have these patterns shaped the development of our nation? Before slavery was implemented in America the settlers were not doing too well in the harsh climate....
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...According to W.E.B. DuBois, one of the greatest problems of the twentieth century is the color line. DuBois states that the color line is the relation of the darker to the lighter races of men in Asia and Africa, in America and the islands of the sea. Also, he states that part of this critical problem in American history had given rise to the Civil War. However, many of the men who marched South and North in 1861 may have fixed on the technical points, of union and local autonomy as a shibboleth, all nevertheless knew, as we know, that the question of Negro slavery was the real cause of the conflict. In 1861, the Civil War broke out in America over what was believed to be slavery. However, according to DuBois, Congress, the President, and Nation itself cried that the war was not over the institution of slavery. From this information, one may infer that Congress,...
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...(“Liberty Bond”). In response, an extensive campaign was launched utilizing posters, celebrities, and other vehicles of persuasion to encourage Americans to buy Liberty Bonds (Davies). The poster, Clear-the-Way-!! Buy bonds--Fourth liberty loan, is one such example of urging the public to finance the war. Howard Christy created this propaganda poster with a heavy emphasis on the use of line and patriotic colors. Christy lures Americans in not only with the purposeful use of elements of art and principles of design, but also by choosing an intense setting; the depiction takes place on a ship in the middle of the sea in the midst of an action filled scene. The emerald green waves, the muscular sailors tending to the ship’s gun, and the beautiful blonde woman outstretched in the space above the men invite the viewer into the artwork. Primarily, the use of line in this piece is very deliberate and contributes to Christy’s technique for persuasion. For example, the disproportionally large blonde woman is open armed directing the viewer’s eyes to the text beside her. Her arms create clear straight lines that are pointing to the open space (free of...
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...asks some of these questions. It is through this style that Kara Walker shows that art can be powerful with the use of only a few elements in design. In a representational work of art, Kara Walker shows how the use of multiple line styles can unite a piece of art. Much of the work in this piece is connected by curvilinear lines leaving only one object separated from the rest. This object, in the lower left corner depicts a man carrying a cane. This cane, one of the only straight lines in the work other than the pins in the doll, is a straight line and can be considered pointing to the figures in the middle of the work. This straight line shows an implied line as this seems to be pointing up and directing attention. It is through this implied line that the connection from this alone object is connected to the rest of the art work. Through the use of romantic line quality this work contains heavy lines with sharp edges. This is due to the creation process. The cutout silhouettes are drawn by the artist first then they are cutout using an X-acto knife (Riley). It is through this method that the work has clear sharp edges creating the lines. These two dimensional shapes can only be imagined as life like. They carry no visual texture or color to give the illusion of having mass to exist in the third dimension. This simplistic form of shape shows only an outline of an image and therefore nothing exudes from the work. These black silhouettes typically sit motionless...
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...“Father of Geometry” and his elements were one of the most influential works in the history of mathematics, which served as a textbook used for teaching mathematics (especially Geometry) from when it was published till the late 19th century to early 20th century. In the Elements he included the principles of what is now called Euclidean Geometry. Euclidean Geometry is a mathematical system and consists of in a small set of appealing postulates that are accepted as true. In fact, Euclid was able to come up with a great portion of plane geometry from five postulates. These postulates include: A straight line segment can be drawn joining any two points, to extend a finite straight line continuously in a straight line, given any straight line segment, a circle can be drawn having the segment as radius and one endpoint as center, all right angles are congruent, and if two lines are drawn which intersect a...
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...2 Modelling 1. Firstly, a plane is made to act as the base for the dominos and other objects. 2. Then, a simple domino is drawn by using Box under Standard Primitives. The domino is then adjusted to this size shown in the picture below. 3. A Line is then drawn to make a pathway for the dominos and a simpler way of copying all the dominos at once. Select the previously drawn domino piece, and then open the Spacing Tool in Tools (Tools > Align > Spacing Tool). Click the “Pick Path” button, and select the line. Settings for Spacing Tool must be as follow: a. Spacing = 2.54cm b. Type of Object = Instance c. Under Context, depending on the scene/line, click on “Follow” to see if the dominos align with the line properly. The dominos are then adjusted accordingly to the scene below by using the line drawn. 4. To create slides/ramp for the balls, a Helix is drawn. The Helix is then adjusted to fit the scene as you require. Then, a Rectangle line is drawn and added vertices with the refine function under geometry. The Rectangle is then adjusted to look like the shape of a proper slide/ramp. Then, under Compound Objects, select Loft, and select Get Shape. Click on the Rectangle line which have been drawn as the picture below. 5. Copy the slides/ramps and get put it at...
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...least one inch on all four edges. It is always written on 8½"x11" (or metric equivalent) unlined stationery. There are sixparts to a business letter. 1. The Heading. This contains the return address (usually two or three lines) with the date on the last line. Sometimes it may be necessary to include a line after the address and before the date for a phone number, fax number, E-mail address, or something similar. Often a line is skipped between the address and date. That should always be done if the heading is next to the left margin. (See Business Letter Styles.) It is not necessary to type the return address if you are using stationery with the return address already imprinted. Always include the date. 2. The Inside Address. This is the address you are sending your letter to. Make it as complete as possible. Include titles and names if you know them. This is always on the left margin. If an 8½" x 11" paper is folded in thirds to fit in a standard 9" business envelope, the inside address can appear through the window in the envelope. An inside address also helps the recipient route the letter properly and can help should the envelope be damaged and the address become unreadable. Skip a line after the heading before the inside address. Skip another line after the inside address before the greeting. 3. The Greeting. Also called the salutation. The greeting in a business letter is always formal. It normally begins with the word "Dear" and always includes the person's last...
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...separated different subjects in different sections; twenty two sections made up the book and they all had titles explaining what each section was about which made it super easy to go back and reread a certain section without any trouble. So if I wanted to go back and read about the colors that were once used in Flatland to differentiate people of different classes, I would look back to the contents page and know that section nine is where ‘the Colour Bill’ was discussed. It was the social concept that I had to really sit down and think about. “Flatland” takes place in a fictional country where the citizens are geometric shapes; the priests, who weren’t really priest as the author later explains, but the administrators, the scientists, the engineers, and the ruling class of Flatland who oversee all things of merit, are circles. Other men can have many sides; the more sides, the higher up the social class they become. An additional side is given to the off springs of the following generation. For example, the writer, a square, has children who are pentagons and their children are hexagons. The women in Flatland however are straight lines and they can never have sides or be anything other than straight line. At first, I found it very strange reading a number (no pun intended) of things; for example women are physically intimidating in...
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...Concentrentic Circles 1913, and Pablo Picasso’s Self-Portrait 1907. Representational paintings show clear objects or events and have a clear subject matter in the painting. The subject matter is quite evident in Edward Hopper’s Nighthawks. The subject matter is the dominating, brightly lit diner. The diner is proportionately large. It is built on mostly straight lines, both vertical and horizontal. With the exception of the curve located at the intersection of the two streets. The line of the ceiling of the diner and the line of the green window ledge intersect with the vertical lines depicted by the window frame. The interaction of the horizontal and vertical lines seems to be an essential element in the painting. It produces a pronounced angularity in shape. The overall shape is a rectangle. This is seen with the windows of the diner, as well as, the vertical rectangle in the building in the background. I notice a triangle formed by the silver light on the background building’s window. The lines formed by the diner window seem to trap the people inside the ominous diner. The dramatic uses of light colors against dark colors add variety to the painting and give the painting the feeling of depth. The darkness seen outside the window really gives a feeling of impending doom to the customers inside. Outside, there is no one seen walking the street. The yellows painted show the electric light from inside the diner. This achieved by the high value of the yellow. The low...
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...which encompasses those of the Sandro Botticelli. It is the art of colorful faces of the Madonna and the two angels who represent the birth of Jesus by the virgin marry. Filippo uses many colors in his art to make the work of his art to be colorful and presentable. The clothing which the mother of the child wears is blue and their bodies are decorated with brown color. The cloth which the angel wears is white while the seat also has got a brown color with some decorations on it. In general, the background color is chocolate, and the sky is blue. The use of color represents a variety and the unity. He uses lines in his art to differentiate the different sections of the body and even the linings of the clothes. Also, the hair of the child and the angel has some lines which indicate their existence. Space is partially overlapping in that the other angel is seen via the hands of the mother and the child and also there is enough space which could have been used to draw the very angel. The art is asymmetrical due to the way Madonna holds the child and space which shows the background and the sky. The light in the art is very balanced enough to put the portrait in the right position for the viewers to see it. The work encompasses shapes in that it is two dimensional. The shifts make the shapes in color, light, and...
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