...“The Lesson”, by Toni Cade Bambara, she shows that Sugar shows that she easily understands the point of Miss Moore’s lesson, but it does not affect her in a meaningful way. After the day full of activities, most importantly the trip to F.A.O Schwarz, the kids have a discussion with Miss Moore about their experience and thoughts about the store. Sugar talks about income and money, and her opinion about both. She says, “I think… that this is not much of a democracy if you ask me. Equal chance to pursue happiness means an equal crack at the dough, don’t it?”. This shows that Sugar understands the reason that Miss Moore took them to the stores and to a different part of town. The value of money was very different between where Sugar...
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...Jaclyn Karpiak English 101 12 April 2012 Short Story Analysis: “The Lesson” Toni Cade Bambara, a Harlem-born author, embraces culture, community, and background through her short story “The Lesson”. She has the main character Miss Moore discuss the struggles African Americans have with Caucasians involving social class, poverty, and equality. For many years after the abolition of slavery, African Americans were still looked down upon and considered a lower social class in certain societies. Bambara uses language as a powerful tool for describing America during the 1960s through the eyes of a young girl named Sylvia, a proud, sensitive, tough girl who is far too smart to ignore the realities around her. Bambara uses language to establish a cultural setting and Miss Moore to teach her students how to be successful, no matter their race. This story reflects Bambara’s ethnic background and pride by using the same dialect that she used growing up in Harlem, New York. According to Bambara, she spoke African American Vernacular English (AAVE), a trait that imparts to Sylvia. African American Vernacular English adds realism and humor to Sylvia's narrative because it describes her ethnicity without directly expressing what it is. It is common for African-American writers to use AAVE to emphasize their political and social commentary, so it is appropriate for Sylvia to be speaking the dialect because the story takes place in the ghetto of New York where Sylvia spends her childhood...
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...have to order him to the back door. He will go without being told; and if there is no back door, his very nature will demand one.” (Woodson) This essay will analyze the significant importance of the main idea in regards to the short story “The Lesson” written by Toni Cade Bambara. There are many ways that the main idea of “The Lesson” could be...
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...the right and wrong ways of dealing with this. “The Lesson,” by Toni Cade Bambara, does not necessarily have to do with the racial oppression King describes, as Bambara tells a short story expressing how a group of children living in poverty view the richer lifestyle, but some of King‟s categories of dealing with oppression can be seen in how Bambara‟s characters react to what they are observing. At the start of Bambara‟s “The Lesson,” Sylvia expresses her dislike and almost hatred for Miss Moore. This is made obvious by many of the statements she makes when introducing the characters and story: “I‟m really hating this nappy-head bitch and her goddamn college degree,” and “though I never talk to her . . . I wouldn‟t give the bitch that satisfaction.” Hatred is often the first step in acting violently, one of King‟s ways of meeting oppression. While Sylvia, or anyone else at any time during the story, does not actually act violently, their thoughts and feelings show signs of possible violence in the future. Not only do Sylvia and the children show a tendency of hatred towards Miss Moore, but to each other as well—especially aimed at Mercedes. The reader can gather that Mercedes‟s family has a little more money than the rest of them and Mercedes has no problem rubbing that fact in. When standing outside the store, Mercedes brags that her father would buy her the expensive toy boat if she wanted it, and Rosie responds by showing her some hostility: “Your father, my ass.” While the...
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...The essay “Horatio Alger” by Harlon Dalton debates Alger’s idea of what it takes to make the American Dream a reality. Horatio Alger believes that success can be reached with “hard work, persistence and initiative.” Through his critical analysis of Alger’s pieces, Dalton explores Alger’s myth through social realities, like discrimination based on race and current economic standing. Taking “The Lesson” by Toni Cade Bambara into consideration, Dalton would praise Miss Moore’s teachings and tell Sylvia and her friends that they mustn’t listen to the classic “rags to riches” myths of most stories. In “Horatio Alger” by Dalton, Dalton argues that the myth of commercial success is not only false but socially destructive. Alger’s first claim is that “each of us is judged solely on his/her own merits.” Dalton proceeds to counter argue that this is only true when it pertains to white people. Dalton further believes that Alger’s formula for success is too optimistic and blind to the social and racial caste system of the world. When black people are only compared to people of the same race they cannot be held to the same standard as white people, which is true for other races as well. Stereotypes give society a basic conception of each race that is not based solely on their worth but on their position on the social scale and the color of their skin. This myth gives society the wrong expectation of each race and causes them to believe that certain races possess quality traits that others...
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...Economic Inequality in Toni Cade Bambara's The Lesson Essay on The LessonA short story by Toni Cade Bambara On Action and Change Toni Cade Bambara’s "The Lesson" revolves around a young black girl’s struggle to come to terms with the role that economic injustice, and the larger social injustice that it constitutes, plays in her life. Sylvia, the story’s protagonist, initially is reluctant to acknowledge that she is a victim of poverty. Far from being oblivious of the disparity between the rich and the poor, however, one might say that on some subconscious level, she is in fact aware of the inequity that permeates society and which contributes to her inexorably disadvantaged economic situation. That she relates poverty to shame—"But I feel funny, shame. But what I got to be shamed about? Got as much right to go in as anybody" (Bambara 604)—offers an indication as to why she is so hard-pressed to concede her substandard socioeconomic standing in the larger scheme of things. Sylvia is forced to finally address the true state of her place in society, however, when she observes firsthand the stark contrast between the rich and the poor at a fancy toy store in Manhattan. Initially furious about the blinding disparity, her emotionally charged reaction ultimately culminates in her acceptance of the real state of things, and this acceptance in turn cultivates her resolve to take action against the socioeconomic inequality that verily afflicts her, ensuring that "ain’t nobody gonna...
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...Richter 1 Ryan Richter English V01B 7 March 2014 An Unwelcome Lesson In nearly all tales, myths and stories, a hero is set on a journey into the unknown. The hero acquires knowledge and skill, his mettle is tested, and by success or failure he learns something about himself or the world he lives in. Often the acquisition of skill and knowledge is obtained via the work of a guide or mentor. In both “The Lesson” by Toni Cade Bambara and “Young Goodman Brown” by Nathaniel Hawthorne, the protagonist is visited by a maligned guide who exploits their vulnerabilities, manipulating each towards a sobering epiphany, and thereby changing their world view for better or worse. Each of the two protagonists perceives their guide as a foe. In “The Lesson” Sylvia is a willful and irreverent young girl, who is immediately distrustful of her guide in the story, Ms. Moore. Ms. Moore is an oddity in the unnamed slum of New York. She always dresses like she’s going to church, she’s college educated, and inordinately concerned with the educational welfare of the children in her neighborhood (654)1. It is this outsider status that initially puts Sylvia on guard. However, Sylvia is not impervious to the machinations of her teacher. Though Sylvia loathes Ms. Moore’s condescending questions, they are ultimately effective in their goal. Sylvia is also vulnerable due to her need of a social medium. Sylvia is at the top of the pecking order among her friends, and has a sense of responsibility ...
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...Compare/ Contrast Essay It might seem like “Everything Will Be OK” and “ Raymond's Run” are very different kinds of stories. One is a story about a boy who is soft, sensitive and the other is about a girl who is tough and confident. When you dig a little deeper, you will see that both stories actually share a common theme. In both stories , “Raymond's Run” and “ Everything Will Be OK” the authors teach us that it is important to have courage to be an individual. In “Everything Will Be OK” the author shows us that it is vital to have courage to be yourself . In the beginning of the story James shows little courage to be himself . For example, when James says he can feel tears welling up. This evidence shows that, James is really sad about the kitten, maybe being too sick to keep but he won’t show it because he’s afraid of what is brother’s will think if he cries. This shows very little courage. Another example is, when James says “ I want to go because I want my father to like me, but I don’t want to kill animals” This evidence suggests , that he has to courage to just say he doesn't want to because he is so busy...
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...lives and cultures. Policies Faculty and students/learners will be held responsible for understanding and adhering to all policies contained within the following two documents: • University policies: You must be logged into the student website to view this document. • Instructor policies: This document is posted in the Course Materials forum. University policies are subject to change. Be sure to read the policies at the beginning of each class. Policies may be slightly different depending on the modality in which you attend class. If you have recently changed modalities, read the policies governing your current class modality. Course Materials Barnet, S., Cain, W.E., & Burto, W. (2011). Literature for composition: Essays, stories, poems, and plays (9th ed.). New York, NY: Longman. All electronic...
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...Activities in the Classroom Incorporation of activities into lesson plans is critical to the successful implementation of the Louisiana Comprehensive Curriculum. The Comprehensive Curriculum indicates one way to align instruction with Louisiana standards, benchmarks, and grade-level expectations. The curriculum is aligned with state content standards, as defined by grade-level expectations (GLEs), and organized into coherent, time-bound units with sample activities and classroom assessments to guide teaching and learning. The units in the curriculum have been arranged so that the content to be assessed will be taught before the state testing dates. While teachers may substitute equivalent activities and assessments based on the instructional needs, learning styles, and interests of their students, the Comprehensive Curriculum should be a primary resource when planning instruction. Grade level expectations—not the textbook—should determine the content to be taught. Textbooks and other instructional materials should be used as resource in teaching the grade level expectations. Lesson plans should be designed to introduce students to one or more of the activities, to provide background information and follow-up, and to prepare students for success in mastering the Grade-Level Expectations associated with the activities. Lesson plans should address individual needs of students and should...
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...Resources for Teaching Prepared by Lynette Ledoux Copyright © 2007 by Bedford/St. Martin’s All rights reserved. Manufactured in the United 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...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written 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...
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