...“Thank You Ma’am” written by Langston Hughes is comprised of two main characters. One of which is a heavy set lady and the other being a boy in his mid-teens. Langston Hughes was born in Joplin, Missouri where he spent most of his childhood with his grandmother. Once she died, he moved with his mother to Cleveland, Ohio to finish high school. In this story, Hughes writes about a troubled young boy who comes from a poor home and is reduced to stealing a woman’s purse. The boy’s appearance and behavior has the woman upset and she takes him to her house to be fed and cleaned up. Hughes’ home life may have been a reflection of that of his parent’s failure to be around, and it could also reflect on how his grandmother made him feel at home. The...
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...Thank You Ma’am Short Story Paragraph In the short story Thank You Ma’am by Langston Hughes the literary term irony is used to make the reader want to read on and to make the reader surprised. In the beginning of the short story a woman named Mrs. Jones was walking when a young boy came up and tried snatching her pocket book. Mrs. Jones dragged the boy down the street by his collar and brought him to her house. “Here I am trying to get home to cook me a bite to eat and you snatch my pocketbook! Maybe, you ain’t eat your supper yet either, late as it be. Have you?”(Hughes 2). This quote supports situational irony because, as the reader you expect her to take him to jail, report him or even just let him go. Since the women brought Roger (the...
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...Langston Hughes uses tone to demonstrate kindness and truest between two people in this short story. The tone in ‘Thank You Ma’am,” changes as the story begin and throughout the end of the story, and at the same time, the characteristic of the boy changes along the tone of the story. Mistress Jones’s tone that she uses with the boy on the city and tone that she uses at her apartment changes from high pitch to lower pitch tone along the with everything else. The story “Thank You Ma’am,” starts by introducing the outlook of the main character of the story, that “she was a large woman with a large purse that had everything in it but hammer and nails.” By this description provides by Langston Hughes, implies that the woman’s tone likely...
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...have wronged you, but instead forgive them is a crucial, aspect of life. In Langston Hughes’ short story, “Thank You Ma’am” he shows the importance of mercy through his two main characters, Roger, a young poverty-stricken boy, and Ms. Luella Bates Washington Jones a large compassionate woman. In the beginning of the literary work, the author wrote that Roger snuck up on Mrs. Jones and attempted to steal her pocketbook, but his mission failed when the wide women simply turned and gave him a kick in his jean’s sitter. However, she later forgives the vulnerable boy’s actions and takes him to her house where Luella would feed and care for him. Although forgiving one another can be extremely tough, “Thank you, Ma’am” demonstrates the practice of forgiving people out of their kindness of your heart, even if they have harmed you. Furthermore, in Langston’s work, he stresses the significance of being compassionate through the protagonist, Mrs. Luella Bates Washington Jones. After almost having her pocketbook stolen, she puts herself in Roger’s shoes and feels sympathy for Roger, which...
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...One of the themes of author Langston Hughes’ short story “Thank You Ma’am”, is that integrity is an essential character trait that develops over time. A theme is the author’s moral message to the reader and and integrity is the quality of being honest and having strong moral principles. (define literary or other important terms) Hughes develops this theme by placing his characters in situations wherein they have to show trustworthiness, honesty and fairness over time. One example of trustworthiness is that after Mrs. Washington Jones takes Roger to her flat, he deliberately sits far away from her purse. He does this so that she can see that he is not interested in robbing her anymore. Roger’s actions show that he is worthy of Mrs. Washington...
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...In the short story "Thank You, Ma'am" Langston Hughes does a great job of characterizing Mrs. Luella Bates Washington Jones in a variety of ways. There are many important traits that Langston Hughes gives Mrs. Jones'. First, Mrs. Jones' outgoing personality seems like it is infectious, and as it appears it can pick others up. "This woman did not ask the boy anything about where he lived, or his folks, or anything else that might embarrass him." is a quote that convinces us this is her personality type, because she has no need to embarrass Roger. She is very unbridled at times and she is very generous which are more reasons that led me to believe she has a very outgoing personality. Next, Mrs. Jones has a really great willingness to help which...
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...Chris Smith Mr. Musick/ Ms. Lynch English 10 November 1st, 2017 Thank You, Ma’am One small deed can change a persons whole life. This is very well seen in Langston Hughes short story “Thank You, Ma’am,” when Hughes uses the power of trust and charity to get this point across. “Thank You, Ma’am,” is about a working class woman named Mrs. Jones helps a young troubled teen named Roger. At the beginning of the story Roger tries to steal Mrs. Jones purse. Unsuccessful Roger is left on the ground while Mrs. Jones yells at him. Instead of taking him to authorities Mrs. Jones trusts Roger and takes him to her house. Mrs. Jones can tell from Rogers appearance that he is less fortunate and she's willing to help him. Hughes uses these themes to create a strong relationship between Mrs. Jones and Roger....
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...interesting are "Indian Education" by Sherman Alexie and "Thank you Ma'am" by Langston Hughes. "Indian Education" is about a boy who learned a lot from everything that happened in his life. "Thank you Ma'am" is about a boy who makes a mistake and in the end he learns from it. While there are some obvious similarities, both authors approach these stories, specifically the characters, tone and point of view, in different ways. The main characters of both stories are similar because they both brave. When the Indian boy was in the first grade, he punched a kid in the face for being mean to him. "Held his head against the snow, and punched him." The Indian boy was only in the first grade and he punched someone. He was standing up for himself. Also, when the Indian boy was in the fifth grade, he started playing basketball. "I picked up the basketball for the first...
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...В.А. Кухаренко ПРАКТИКУМ ПО ИНТЕРПРЕТАЦИИ ТЕКСТА Допущено Министерством просвещения СССР в качестве учебного пособия для студентов педагогических институтов по специальности № 2103 «Иностранные языки» МОСКВА «ПРОСВЕЩЕНИЕ» 1987 ББК 81.2 Англ К95 Рецензенты: кафедра английской филологии ЛГПИ им. А. И. Герцена; кандидат филологических наук, доцент МГПИИЯ им. Мориса Тореза О. Л. Каменская Кухаренко В. А. КЯ5 Практикум по интерпретации текста: Учеб. пособие для студентов пед. ин-тов по спец. № 2103 «Иностр. яз.».— Просвещение. 1987.—176 с. 4309000000—608 103(03)—87 Пособие предназначено для студентов старших курсов факультетов английского языка педагогических институтов. Оно написано в соответствии с программой по данному курсу и состоит из двух частей. Первая часть пособия включает 6 рассказов и образцы их интерпретации. Во второй части даны 16 рассказов, представляющих различные жанры короткой прозы писателей США, Великобритании, Австралии и Новой Зеландии, предназначенные для самостоятельной работы студентов. ББК 81.2Англ © Издательство сПросвещение», 1987 ПРЕДИСЛОВИЕ Настоящее издание представляет собой практическое пособие по интерпретации текста. Оно предназначено для студентов факультетов английского языка педагогических институтов и написано в соответствии с Программой МП СССР по курсу языкознания. Цель пособия — научить студентов не только умению глубоко проникать в художественный...
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...States of America. 2 1 f e 0 9 d c 8 7 b a For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) ISBN-10: 0–312–44705–1 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...
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...permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism. I. Title. PN81.T97 2006 801’.95‑‑dc22 Visit the Taylor & Francis Web site at http://www.taylorandfrancis.com and the Routledge Web site at http://www.routledge‑ny.com 2006001722 I gratefully dedicate this book to my students and to my teachers. I hope I will always have difficulty telling you apart. Contents Preface to the second edition Preface for instructors...
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...Cultural Moves AMERICAN CROSSROADS Edited by Earl Lewis, George Lipsitz, Peggy Pascoe, George Sánchez, and Dana Takagi 1. Border Matters: Remapping American Cultural Studies, by José David Saldívar 2. The White Scourge: Mexicans, Blacks, and Poor Whites in Texas Cotton Culture, by Neil Foley 3. Indians in the Making: Ethnic Relations and Indian Identities around Puget Sound, by Alexandra Harmon 4. Aztlán and Viet Nam: Chicano and Chicana Experiences of the War, edited by George Mariscal 5. Immigration and the Political Economy of Home: West Indian Brooklyn and American Indian Minneapolis, by Rachel Buff 6. Epic Encounters: Culture, Media, and U.S. Interests in the Middle East,1945–2000, by Melani McAlister 7. Contagious Divides: Epidemics and Race in San Francisco’s Chinatown, by Nayan Shah 8. Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934–1990, by Lon Kurashige 9. American Sensations: Class, Empire, and the Production of Popular Culture, by Shelley Streeby 10. Colored White: Transcending the Racial Past, by David R. Roediger 11. Reproducing Empire: Race, Sex, Science, and U.S. Imperialism in Puerto Rico, by Laura Briggs 12. meXicana Encounters: The Making of Social Identities on the Borderlands, by Rosa Linda Fregoso 13. Popular Culture in the Age of White Flight, by Eric Avila 14. Ties That Bind: The Story of an Afro-Cherokee Family in Slavery and Freedom, by Tiya Miles 15. Cultural Moves: African Americans and the Politics of...
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...Copyright © 2006 by Pearson Custom Publishing All rights reserved. Permission in writing must be obtained from the publisher before any part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system. All trademarks, service marks, registered trademarks, and registered service marks are the property of their respective owners and are used herein for identification purposes only. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ISBN 0-536-97722-4 2005240359 AP Please visit our web site at www.pearsoncustom.com ISBN 0-558-55519-5 PEARSON CUSTOM PUBLISHING 75 Arlington Street, Suite 300, Boston, MA 02116 A Pearson Education Company Research and Writing, Custom Edition. Published by Pearson Custom Publishing. Copyright © 2006 by Pearson Custom Publishing. 1 Reading Arguments ontemporary American culture often seems dominated by argument. Television talk show hosts and radio shock jocks battle over countless issues. Hip-hop artists...
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...don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you do know some SAT-type words, but also it may well help you on the actual day of the test. These words have turned up on recent tests; some of them may well turn up on the test you take. The more you study actual SAT critical reading questions, the more you realize one thing: the key to doing well on the critical reading portions of SAT is a strong working vocabulary of college-level words....
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