...to discriminate against and disenfranchise Black people is the creation of the other category to describe African-Americans. They created this category using two main tactics. These tactics include: using religion to justify the dehumanization of black people and using white pride to ensure black people always remain the most disenfranchised group in America (always below poor white Americans). During the slave era, white people used the bible to justify the dehumanization of the black race. They claimed that it was god's will for black people to be slaves. Ta-nehisi Coates includes (in his article) a quote from Jefferson Davis on the eve of secession who argues that the “degradation...
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...through the stages of drafting, revising, and editing before handing them in for a grade. I will give you all assignments in writing posted to Blackboard; also I will post all reading material on Blackboard or we’ll retrieve materials through online sources; thus there are no texts to buy for this course. Requirements You will complete approximately four graded assignments over the course of this semester – comprised of the following: 1. Politics, government policy, and/or social and cultural issues. Some of you may be interested and engaged in these matters already – such matters as economic theory and policy, immigration, gun rights vs. sensible gun regulation, health care policy, veteran affairs and funding, equal pay for women, women’s access to abortion and contraception, the right wing’s current attempt to defund Planned Parenthood; the Tea Party vs. . . . ALL government at large; race issues (the Black Lives Matter movement and all that it entails, especially policing in minority communities and minority profiling); voter rights vs. draconian voter ID laws and eliminating early voting; drug policies; foreign policy (involvement/intervention vs. isolationism; military involvement vs. diplomatic/economic solutions to conflict, e.g., the current debate...
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...the automated review system that recognizes errors most commonly made by university students in academic essays. The system embeds comments into your paper and suggests possible changes in grammar and style. Please evaluate each comment carefully to ensure that the suggested change is appropriate for your paper, but remember that your instructor's preferences for style and format prevail. You will also need to review your own citations and references since WritePoint capability in this area is limited. NOTE: WritePoint comments are computer-generated writing and grammar suggestions inviting the consideration and analysis of the writer; they are not infallible statements of right/wrong, and they should not be used as grading elements. Also, at present, WritePoint cannot detect quotations or block-quotes, so comments in those areas should be ignored. Please see the other helpful writing resources in the Tutorials and Guides section of the Center for Writing Excellence. Thank you for using WritePoint. Personal Responsibility Danielle Fairley GEN/200 May 22, 2012 April Miller Personal Responsibility Begin your [Eliminate second person (you, your) in academic documents and avoid addressing the reader directly. Prefer third-person pronouns (he, she, they, it)] paper [This title could be more inspiring. Labeling it a "paper" or an "essay" is redundant (what else could it be?), and only a few words as a title are not very explanatory (or intriguing...
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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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...Men In Nervous Conditions: An Ignored Matter The men of Zimbabwe struggled to assert the independence of their people against political, cultural and religious colonial pressure (Vembe), but reduced women to silent supporters (Stone 113). This dynamic still holds true on the literary front, where male writers of Zimbabwe, and Africa in general, present to the west male-centered, idealized pictures of traditional women and culture. Women, however, uncertain that men will revalue them, concern themselves with the pressures within the culture (McLeod). For this reason, the men of Africa generally discourage female authors from revealing their gritty perspectives. Further, E. Kim Stone writes, “Under colonialism, female storytellers were excluded from the few powerful positions the British system of colonization allowed in Rhodesia,” suggesting the traditional place of women as storytellers, somewhat ironically, was also suppressed by the colonizers. Only women are interested in revealing the internal pressures of postcolonial Zimbabwe. But these hidden pressures are just the ones that cause the “nervous conditions” in the book titled as such. A female character narrates this text about women, bearing to light women's struggles to be themselves within a constraining environment. But even as critics revel in this rare, realistic portrayal of Zimbabwean women, they seldom explore the significance of Tsitsi Dangarembga's representation of men, too often passing them off as flat characters...
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...Compare and Contrast Essay 5/12/2014 Ashford University English 121-AXC1415E Instructor: Jamie Cooper Student: Katherin Wheat When it comes to writing the compare and contrast essay style, it is one of the more difficult ones to achieve. The differences between these two essays “How to say nothing in 500 words” by: Paul McHenry Roberts and “caged bird” by: Maya Angelou is easy to pick out. As far as the similarities goes that proved to a little harder to give a lot of examples. In the following paragraphs there will be plenty of examples of compare and contrast, give summaries, a couple of quotes and a paraphrase will be included in this essay. While how to say nothing in 500 words and Caged Bird are both well-written essays, caged Bird was more visual than How to say nothing in 500 words because the author painted a more detailed picture which kept the reader’s attention, the attended audience was more overly open to more people than that of how to say nothing in 500 words essay, and the author of caged bird had a bigger and deeper impact on the readers then the author of how to say nothing in 500 words did. Caged Bird was more visual than How to say nothing in 500 words because the author painted a more detailed picture which kept the reader’s attention. Maya Angelou’s descriptive essay “Caged bird” tells a story of a caged bird and a free bird. The caged bird signifies a person with the skin color darker than that of a peach colored crayon, held down by the paralyzing...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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... Introduction I chosen to compare and contrast the literary works, “country Lovers” by Nadine Gordimer and “The Welcome Table” by Alice Walker, the theme being race / ethnicity. Theme: “The Racial Conflict and Discrimination In The Welcome Table And Country Lovers.” I want to explore the difference lives’ of these two woman was face with, and the way the narrator made me feel while I was reading the story of two black woman. Two strong black women that face all types of problems life had to offer them. These two stories shows feeling, pain, hate, and disappointments in Country Lovers and The Welcome Table. Both of these women had to struggled with their emotions and all they had to go through. Both stories are told in third person omniscient point of view, you can tell by the way the narrator describe the characters and how they’re feeling in both story. “The Welcome Table,” the old woman had her faith to guide her. To carrier her through the hard times. All she wanted was just to attend church. There is a rascal tension centered on both of these stories, in “Country Lovers” the black woman in this story was a pretty black woman fell in love with someone she grow up with a white man, she had a baby for him. This paper will explain every little details concerning The Welcome Table and Country Lovers. “The Racial Conflict And Discrimination In The Welcome Table And Country Lovers” Every story narrows a broad underlying idea...
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...N I N G O B J E C T I V E S 10 1. Identify the purpose and structure of narrative writing. 2. Recognize how to write a narrative essay. Rhetorical modes simply mean the ways in which we can effectively communicate through language. This chapter covers nine common rhetorical modes. As you read about these nine modes, keep in mind that the rhetorical mode a writer chooses depends on his or her purpose for writing. Sometimes writers incorporate a variety of modes in one essay. In covering the nine rhetorical modes, this chapter also emphasizes these as a set of tools that will allow you greater flexibility and effectiveness in communicating with your audience and expressing your ideas. rhetorical modes The ways in which we effectively communicate through language. 1.1 The Purpose of Narrative Writing Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. In addition, a narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story; the writer of a fictional story can create characters and events as he or she sees fit. However, the big distinction between factual and fictional narratives is based on a writer’s purpose. The writers of factual stories try to recount...
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...wall of literary structure. * If we miss one detail of the story,it would be incomplete comprehension for the readers. * The most important reason why we study literature is not about “what” but “How”.(Literature statement should be beyond peripheral) * Theme * Main idea of literary work is usually a structural decision,comparable to an architectural decisions. * consistency of the chosen theme/ex:”Native”/Filipino * Literary Terms 1. Symbol 2. Simile 3.Metaphor 4.Images 5.Diction 6.Denotation/Connotation * Literary Genres * are determined by literary technique, tone content & by critics’ definitions of the genres * a category , type or class Literature 1. Allegory : A narrative w/c litetal meaning corresponds clearly &...
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...From Slavery appeals to a wide audience from early adolescence through adulthood. More important, however, is the inspiration his story of hard work and positive goals gives to all readers. His life is an example providing hope to all. The complexity and contradictions of his life make his autobiography intellectually intriguing for advanced readers. To some he was known as the Sage of Tuskegee or the Black Moses. One of his prominent biographers, Louis R. Harlan, called him the “Wizard of the Tuskegee Machine.” Others acknowledged him to be a complicated person and public figure. Students of American social and political history have come to see that Washington lived a double life. Publicly he appeased the white establishment by remaining cautious in his charges and demands. Privately he worked tirelessly to undo the effects of institutional and cultural racism. Although he seemed to have made a grand compromise, first with the white south and then with white America, he worked in deepest secret to undermine the compromise and advance the social and economic position of blacks. No doubt exists as to his greatness....
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...Instructor’s Manual to Accompany The Longman Writer Rhetoric, Reader, Handbook Fifth Edition and The Longman Writer Rhetoric and Reader Fifth Edition Brief Edition Judith Nadell Linda McMeniman Rowan University John Langan Atlantic Cape Community College Prepared by: Eliza A. Comodromos Rutgers, The State University of New Jersey New York San Francisco Boston London Toronto Sydney Tokyo Singapore Madrid Mexico City Munich Paris Cape Town Hong Kong Montreal NOTE REGARDING WEBSITES AND PASSWORDS: If you need a password to access instructor supplements on a Longman book-specific website, please use the following information: Username: Password: awlbook adopt Senior Acquisitions Editor: Joseph Opiela Senior Supplements Editor: Donna Campion Electronic Page Makeup: Big Color Systems, Inc. Instructor’s Manual to accompany The Longman Writer: Rhetoric, Reader, Handbook, 5e and The Longman Writer: Rhetoric and Reader, Brief Edition, 5e, by Nadell/McMeniman/Langan and Comodromos Copyright ©2003 Pearson Education, Inc. All rights reserved. Printed in the United States of America. Instructors may reproduce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. Please visit our website at: http://www.ablongman.com ISBN: 0-321-13157-6 1 2 3 4 5 6 7 8 9 10 - D O H - 05 04 03 02 CONTENTS ...
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...history, for today’s student to master. “Someone should write a film version of Harold Bloom’s The Western Canon,” a writer from The Independent suggested, and “the person who should write it,” he said, looking at me, “is you.” I looked to Walter, who replied, “If you write it, I’ll publish it.” And the die was cast. Faber offered a contract, and I set to work. Following the Bloom model I decided it should be an elitist canon, not populist, raising the bar so high that only a handful of films would pass over. I proceeded to compile a list of essential films, attempting, as best I could, to separate personal favorites from those movies that artistically defined film history. Compiling was the easy part—then came the first dilemma: why was I selecting these films? What were my criteria? What is a canon? It is, by definition, based on criteria that transcend taste, personal and popular. The more I pondered this, the more I realized how ignorant I was. How could I formulate a film...
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...ISBN-13: 978–0–312–44705–2 Instructors who have adopted Rereading America, Seventh Edition, as a textbook for a course are authorized to duplicate portions of this manual for their students. Preface This isn’t really a teacher’s manual, not, at least, in the sense of a catechism of questions and correct answers and interpretations. Because the questions provided after each selection in Rereading America are meant to stimulate dialogue and debate — to generate rather than terminate discourse — they rarely lend themselves to a single appropriate response. So, while we’ll try to clarify what we had in mind when framing a few of the knottier questions, we won’t be offering you a list of “right” answers. Instead, regard this manual as your personal support group. Since the publication of the first edition, we’ve had the chance to learn from the experiences of hundreds of instructors nationwide, and we’d like to use this manual as a forum where we can share some of their concerns, suggestions, experiments, and hints. We’ll begin with a roundtable on issues you’ll probably want to address before you meet your class. In the first section of this manual, we’ll discuss approaches to Rereading America and help you to think through your class goals. We’ll examine some options for tailoring the book to fit your interests and the time constraints of your term. We’ll also take up some pedagogical issues. We’ll offer advice on how to broach particularly hot topics in your class. We’ll explore...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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