...sister Lena and her brothers, big Alec and George William. The story shows how a child sees and experiences different situations, and how they separate good and bad. Childhood and parenting are clear themes in the text. In the essay there will be analyzes of the setting, the narration and point of view, the language, make a characterization of the main character, and write about the structure. I will focus on the narrative techniques and the narrator’s language. At lasts an interpretation in the conclusion. The setting of the story is happy, but still with a scary atmosphere. The kids love to play at the surroundings of the house, but can’t get dirty because of the mother. The narrator finds it exciting to be up at the attic, but she has to be careful. If her mother finds out she is there, she will be very angry. “If I was a boy like my big cousin Wilf or like my babby brother George William, I could get filthy dirty. But I don’t want Mammy to shout at me again today –and when I get mucky, she rubs me red raw in the bath...” (p. 1 lin. 28-30). It is cold in the rooms, maybe because they are poor. The narrator in the text is a first person narrator. The narrator is the little girl, Elizabeth, and she is the “I” in the story. This makes the story personal, but also subjective, because we only hear the story from her point of view. We also hear her thoughts. “I think I’ll leave the door open. The lacy collar of my frog is too tight around my neck and it scratches and I can’t...
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...Lower East Side Memories : A Jewish Place in America By HASIA R. DINER The Lower East Side and American Jewish Memory I'm Jewish because love my family matzoh ball soup. I'm Jewish because my fathers mothers uncles grandmothers said "Jewish," all the way back to Vitebsk & Kaminetz-Podolska via Lvov. Jewish because reading Dostoyevsky at 13 I write poems at restaurant tables Lower East Side, perfect delicatessen intellectual. —Allen Ginsberg, "Yiddishe Kopf" The poet Allen Ginsberg, born and raised in Newark, New Jersey, returned in his later years to a narrative style of expression, shifting gears from the anger and fire of his early career. In this poem from 1991 he also touched down again, after a long hiatus spent exploring Buddhism and Eastern philosophy, upon some Jewish themes, as a way of remembering the world of his youth. He described that world in one poem, "Yiddishe Kopf," literally, a Jewish head, but more broadly, a highly distinctive Jewish way of thinking, based on insight, cleverness, and finesse. That world for him stood upon two zones of remembrance. The world of eastern Europe, of Vitebsk, Lvov, and Kamenets-Podolski gave him one anchor for his Jewishness. Thai space of memory gave him a focus for continuity and inherited identity, tied down by the weight of the past, by family in particular. The other, the Lower East Side, nurtured and...
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...accented English to collide with the sawedtwenty years. off consonants. I tell him that will be fi ne, that I’m familiar with 3 Barrientos was born in Guatethe conversational setup, and yes, I’ve studied a bit mala and raised of Spanish in the past. He asks for my name and I in El Paso, Texas. Her first novel, Frontera Street, was supply it, rolling the double r in Barrientos like a pro. published in 2002, and her second, That’s when I hear the silent snag, the momentary Family Resemblance, was pubhesitation I’ve come to expect at this part of the exlished in 2003. Her column “Unchange. Should I go into it again? Should I explain, conventional Wisdom” runs every the way I have to half a dozen others, that I am Guaweek in the Inquirer. This essay originally appeared in the collectemalan by birth but pura gringa by circumstance? tion Border-Line Personalities: A Do I add the humble little laugh I usually attach New Generation of Latinas Dish to the end of my sentence to let him know that of on Sex, Sass & Cultural Shifting. course I see the irony in the situation? We selected this reading because This will be the sixth...
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...Bibliographic Essay on African American History Introduction In the essay “On the Evolution of Scholarship in Afro- American History” the eminent historian John Hope Franklin declared “Every generation has the opportunity to write its own history, and indeed it is obliged to do so.”1 The social and political revolutions of 1960s have made fulfilling such a responsibility less daunting than ever. Invaluable references, including Darlene Clark Hine, ed. Black Women in America: An Historical Encyclopedia 2nd ed. (New York: Oxford University Press, 2004); Evelyn Brooks Higgingbotham, ed., Harvard Guide to African American History (Cambridge: Harvard University Press, 2001); Arvarh E. Strickland and Robert E. Weems, Jr., eds., The African American Experience: An Historiographical and Bibliographical Guide (Westport: Greenwood Press, 2001); and Randall M. Miller and John David Smith, eds., Dictionary of Afro- American Slavery (Westport: Greenwood Press, 1988), provide informative narratives along with expansive bibliographies. General texts covering major historical events with attention to chronology include John Hope Franklin and Alfred A. Moss, Jr., From Slavery to Freedom: A History of African Americans (Boston: McGraw Hill, 2000), considered a classic; along with Joe William Trotter, Jr., The African American 1  Experience (Boston: Houghton Mifflin, 2001); and, Darlene Clark Hine, William C. Hine, and Stanley Harrold, The...
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...children at the Tokyo Holocaust Education Center take to find out who Hana Brady is—all from a suitcase the Center received with Hana’s name, birth date, and the word waisenkind (orphan) written on it. The children at the Center are captivated by this suitcase, and the girl who once owned it, and they begin flooding Fumiko Ishioka, the Center’s Director, with question after question about Hana. Fumiko recognizes the importance of uncovering Hana’s story for her students. This tragic event cannot be summed up in numbers or facts— it affected individuals, young and old, who each had a story, families, and hopes and dreams. As Fumiko slowly but determinedly reveals Hana’s story, she discovers that Hana was sent to live in Theresienstadt, a Jewish ghetto, and eventually died at Auschwitz. However, as devastating as this is for Fumiko and the children at the Center to find out, they also learn that Hana had an older brother who survived the Holocaust and was now living with his family in Canada. Fumiko and the children write to George Brady, asking him to share...
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...public events” where memory is defined as “the faculty by which events are recalled or kept in mind”. Thus history and memory interrelate as history can be seen as the contextual justification for memory. “The Fiftieth Gate” is a poignant interweaving of history and memory. The text follows protagonist, Mark Baker an historian, son of Holocaust survivors Genia and Yossl (Joe), on an historical journey through memory, to uncover the origins of his past and act as a catalyst for future generations to also connect with their history. Mark Baker’s journey through history and memory is also executed through his conventional ideas that memory is biased and less valid than history. There are numerous references to the discrepancies between the personal memories of his parents and the documented history Mark as an historian believes. In this way it is apparent that Mark is on a quest for verification, “my facts from the past are different”. This displays the flaw Mark traditionally notes in memory and his need for historical evidence. As responders accompany Mark on his journey, they also encounter the complexity of simultaneously being a son and an historian. This attested via the following when Mark collates his parent’s memories with documented historical evidence “His was a past written on a page…mother couldn’t point to anyone”. This quote represents the way Mark requires documented evidence, history. This is because he believed his father’s memories only when had had evidence...
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...Anna Munoz Dr. Jones DISC 1313 December 4, 2015 Music and The Civil Rights Movement of the 1960’s All forms of Black music, from jazz to rock and roll, played an important part in the Civil Rights Movement. The songs were sung for multiple purposes and played a critical role in inspiring, activating, and giving voice to the people involved. The evolution of music during the early 1950’s and 1960’s in the Black freedom struggle reflects the evolution of the Civil Rights Movement itself. The progressive thought of the 1950s nurtured new ideas and cultures including the Civil Rights Movement and the fast spread of rock and roll. One such cultural revival occurred after the end of World War II during a time of change, prosperity and restoration. The “Puritan dicta” outlined by Baldwin represents the American ideology before the Second World War. As the first settlers of this nation, the Puritans set the mold for many common American ideologies. In the Puritan view white represented good and black represented evil, including Africans and their culture. After the war, Baldwin states that the former puritanical views of whites will be challenged. Musicians such as Elvis Presley were the first to issue this challenge to white society. Early rockers like Elvis would pave the way for social commentary in music that would add much fire to the Civil Rights Movement. To fully understand the explosion of popularity of Black music in the years following World War II, one must understand...
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...University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2010 Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context Leah Rang University of Tennessee - Knoxville, lrang@utk.edu Recommended Citation Rang, Leah, "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context. " Master's Thesis, University of Tennessee, 2010. http://trace.tennessee.edu/utk_gradthes/655 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact trace@utk.edu. To the Graduate Council: I am submitting herewith a thesis written by Leah Rang entitled "Bharati Mukherjee and the American Immigrant: Reimaging the Nation in a Global Context." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Urmila Seshagiri, Major Professor We have read this thesis and recommend its acceptance: Lisi Schoenbach, Bill Hardwig Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council:...
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...Comics as Archives: MetaMetaMaus Hillary Chute | University of Chicago Abstract: In the view of some critics, the form of comics is a locus of the archival, a place where we can identify an archival turn. Art Spiegelman’s Maus first and perhaps most forcefully established the connection between archives and comics. His groundbreaking work documenting his father’s experience in WWII Poland, where he survived internment in Auschwitz, is a visual narrative based on oral testimony that consistently heightens our awareness of visual, written, and oral archives, and where they interact, overlap, or get transposed one into the other. Hillary Chute recounts and interprets her collaboration with Spiegelman in the process of assembling MetaMaus, a book compiling interviews and archival materials on the making of Maus. MetaMaus, argues Chute, reflects the tension between different kinds of extant archives—oral, written, photographic—and the cross-discursive work of (re)building new archives that motivates Maus. Its defining feature is that it shows the materiality of Spiegelman’s archive; it is about the embodiment of archives. The subject of Maus is the retrieval of memory and ultimately, the creation of memory…. It’s about choices being made, of finding what one can tell, and what one can reveal, and what one can reveal beyond what one knows one is revealing. Those are the things that give real tensile strength to the work—putting the dead into little boxes. – Art Spiegelman (MetaMaus...
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...Bryant-45099 Part I.qxd 10/18/2006 7:42 PM Page 36 5 FEMINIST METHODOLOGIES AND EPISTEMOLOGY ANDREA DOUCET Carleton University, Canada NATASHA S. MAUTHNER University of Aberdeen, Scotland O ver the past 10 years of teaching courses on research methods and feminist approaches to methodologies and epistemologies, a recurring question from our students concerns the distinctiveness of feminist approaches to methods, methodologies, and epistemologies. This key question is posed in different ways: Is there a specifically feminist method? Are there feminist methodologies and epistemologies, or simply feminist approaches to these? Given diversity and debates in feminist theory, how can there be a consensus on what constitutes “feminist” methodologies and epistemologies? Answers to these questions are far from straightforward given the continually evolving nature of feminist reflections on the methodological and epistemological dimensions and dilemmas of research. This chapter on feminist methodologies and epistemologies attempts to address these questions by tracing historical developments in this area, by considering what may be unique about feminist epistemologies and feminist methodologies, by reviewing some of sociology’s key contributions to this area of scholarship and by highlighting some key emergent trends. The chapter begins with a brief overview of the theoretical and historical development of feminist epistemologies, followed by a similar overview...
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...Copyright © 2013 by McGraw-Hill Education. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-180360-1 MHID: 0-07-180360-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-180359-5, MHID: 0-07180359-9. E-book conversion by Codemantra Version 1.0 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill Education eBooks are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. Trademarks: McGraw-Hill Education, the McGraw-Hill Education logo, 5 Steps to a 5 and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property...
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...book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves included—frequently malign or ignore. As we have considered our quandary, we have come face-to-face with the central paradox that characterizes the genre: Teaching manuals tend to be distant, mechanical, impersonal, and lifeless, when in fact good teaching is immediate, flexible, personal, and lively. In this manual, therefore, we have attempted to communicate to fellow teachers...
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...what sorts of issues in modern society might be the legitimate objects of a Christian social and political concern. Raymond Plant has written an important study of the relationship between religion and politics which will be of value to students, academics, politicians, church professionals, policy makers and all concerned with the moral fabric of contemporary life. r ay m on d pl an t is Professor of European Political Thought at the University of Southampton and a Member of the House of Lords. He was a Home affairs spokesperson for the Labour Party from 1992 to 1996, and Master of St Catherine's College, Oxford, from 1994 to 2000. Lord Plant's main publications are Social and Moral Theory in Casework (1970), Community and Ideology: An Essay in Applied Moral Philosophy (1974), Hegel (1974), Political Philosophy and Social Welfare (with H. Lesser and P. TaylorGooby, 1979), Philosophy, Politics and Citizenship (with A. Vincent, 1983), Hegel: Second Edition (1983) and Modern Political Thought (1994). POLITICS, THEOLOGY AND HISTORY R AY M O N D P L A N T University of Southampton...
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...this situation sounds familiar, you may find it reassuring to know that many professionals undergo these same strange compulsions before they begin writing. Jean Kerr, author of Please Don’t Eat the Daisies, admits that she often finds herself in the kitchen reading soup-can labels—or anything—in order to prolong the moments before taking pen in hand. John C. Calhoun, vice president under Andrew Jackson, insisted he had to plow his fields before he could write, and Joseph Conrad, author of Lord Jim and other novels, is said to have cried on occasion from the sheer dread of sitting down to compose his stories. To spare you as much hand-wringing as possible, this chapter presents some practical suggestions on how to begin writing your short essay. Although all writers must find the methods that work best for them, you may find some of the following ideas helpful. But no matter how you actually begin putting words on paper, it is absolutely essential to maintain two basic ideas concerning your writing task. Before you write a single sentence, you should always remind yourself that 1. You have some valuable ideas to tell your reader, and 2. More than anything, you want to communicate those ideas to your reader. These reminders may seem obvious to you, but without a solid commitment to your own opinions as well as to your reader, your prose will be lifeless and boring. If you don’t care about your subject, you can’t very well expect anyone else to. Have confidence that your ideas are...
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...CROSSROADS When I read the first draft of this manuscript it provided a genuine "aha" experience. I felt that "tempered radicalism" was a concept that had been waiting to be invented. Meyerson and Scully, in my view, have grasped an important idea and have written about it in a careful and an illuminating way. It's one of those papers, I suspect, that some people will react to by thinking: "I wish I had written that!" Further, I can see others I know well in the field as fitting the description of the tempered radical, at least in some circumstances and at different times. The reviewers, while suggesting changes, as reviewers do, were also very taken with the paper. It is intellectually interesting, and evocative. It provides us with a perspective on organizational issues that is typically glossed. It opens an arena for organizational analysis that is missed in most theoretical frameworks. Tempered radicals, Meyerson and Scully argue, are individuals who identify with and are committed to their organizations and also to a cause, community or ideology that is fundamentally different from, and possibly at odds with, the dominant culture of their organization. Their radicalism stimulates them to challenge the status quo. Their temperedness reflects the way they have been toughened by challenges, angered by what they see as injustices or ineffectiveness, and inclined to seek moderation in their interactions with members closer to the centre of organizational values and orientations...
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