...How It Feels to Be Colored Me Analysis Paragraph Novelist, Zora Neale Hurston, in her narrative essay, How It Feels to Be Colored Me, describes her childhood struggles with identity. Hurston, as a young girl, was known as “Zora of Eatonville”. Eatonville, a predominantly African American town, was a sort of utopia for Hurston. She did not have to face racial issues until she moved to Jacksonville, where Zora changed the way she viewed both Black and White people. Hurston’s purpose in her essay How It Feels to Be Colored Me is to describe a shift in her views on Blacks, Whites, and herself because of her move to Jacksonville. Hurston adopts a sanguine tone in order to persuade her audience that no matter one’s race, all people are made the same....
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...Zora Neale Hurston, was born on January 7, 1891. She was born into the family of John and Lucy Ann Hurston; she was one of their eight children. Hurston and her family were originally from Notasulga, Alabama. However, they moved to Florida, when she was just a toddler and Hurston, had little, if no memory, of Notasulga. Many of her writings, reflect the culture and happenings of Eatonville, Florida. Hurston, was anything but a usual African-American woman. She defied numerous odds against her, to complete college, travel past the borders of her home town, and become something more than a poor housewife. Despite all difficulties, Hurston received her associate degree from Howard University, in the year of 1920. A few years later, she would begin working on her bachelors, at Barnard College, were she studied anthropology....
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...EN105 25 January 2015 Racism For many years African Americans have been discriminated against, not as individuals, but solely because of the color of their skins. In her essay “How it Feels to Be Colored Me”, Zora Hurston relays to the reader that being discriminated due to your color doesn’t take away from who you are as a person, nor does it change the morals and virtues and pride that you have for yourself. Hurston speaks of her life experiences, and through those experiences she has became to know who she was, which at the beginning made her feel ashamed. The author didn’t realize or have ever been truly exposed to racism until the age of thirteen, when she moved from Eatonville, FL., a predominately black community, to Jacksonville, FL. Until then white people only differed to Zora because they didn’t live in her town. There in Jacksonville Zora experienced racism and discrimination; through all of this Zora never felt bitter towards those that discriminated against her. “But I am not tragically colored. There is no great sorrow damned up in my soul, nor lurking behind my eyes. I do not mind at all. I do not belong to the sobbing school of Negrohood.” (Hurston 266). Though slavery was sixty years in the past, Zora understood that slavery was the price that was paid for civilization by her ancestors. Racism is alive and well. The past year many of us were stunned by the cases of racial intimidation and judicial bias, during the Michael Brown and Eric...
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...Zora Neale Hurston was born on January 7, 1891 in Notasulga, Alabama. She was the 5th out of 8 kids, and her parents were Lucy Ann and John Hurston. Her mother Lucy Ann was a teacher at the local school, and her father John Hurston was a Baptist preacher, and a tenant farmer. Her family moved to Eatonville, Florida when Zora was just three. Zora often felt that Eatonville was her home and often referred it as the place she was born in. Later her father became the mayor of Eatonville. In 1901, at a young age school teachers form the north visited and introduced her to different books, about the world, and this convinced her later to publish her very own essay in 1928, called “How It Feels To Be Colored Me”. Later on in 1904, Hurston’s mother...
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...Coming Home” – Joan Didion In this essay Joan Didion tried to compare and contrast life in the two separate places and realities she called home; The home of her birth and the home of her marriage which are totally different. Didion’s style is mainly that of storytelling. In her attempt to connect her two lives and show how difficult it was to reconnect to the home of her childhood, Didion takes the reader through a roller coster of rhythms. Note how she omits the use of conjunctions between words or phrases to produce a hurried rhythm, at another instance she over used the conjunction “and” in quick succession making the words feel like they are bouncing off the walls, and quickly returns to standard sentence structure to slow the pace. Didion seems to pay attention to details and dates as she described the content of the cupboard she tried to clean out; a bathing suit she wore when she was seventeen, a letter of rejection, three teacups and the 1954 photograph. Her tone mostly conveyed frustration. Frustration about losing and missing the home of her birth, her family, whose ways she had grown so use to; Frustration about the husband who is very much unlike them, unlike her. Frustration about the decay all around; physical and social. This frustration so real, she even spoke about them in the present tense. Interesting as it was, this essay left me totally exhausted and overwhelmed. How It Feels to Be Colored Me – Zora Neale Hurston What an overwhelming relief and exhilaration...
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...How It Feels To Be Colored Me (Interpretation) Where does racism come from? Are we born with discrimination or racism? Is it easier for some to hold back their anger when being discriminated against? How It Feels to BE Colored Me, is a book reflected on racism and discrimination. Hurston goes on to describe how she experiences her life events. She grew up in a small town Eatonville, Florida. At the age of thirteen, she begins a new chapter in her life in a city outside of Eatonville, Florida. From there, she talks about life experiences she encounters and discusses some of her reactions to those encounters. In the beginning of the essay, Hurston talks about her childhood. Her childhood was an easy going one. Hurston grew up in a small town described to be exclusively of only colored people. While living there, she, from time to time, would see what she refers to them as Southerners and Northerners. Right here, she is already distinguishing the difference between her people (Southerners) and the people to the north of them (Northerners). Although she doesn’t know it, she is already beginning to label others. Why? This might be due to the fact that she is a part of a town that is mainly colored people. But the Northerners were something else again. They were peered at cautiously from behind curtains by the timid here (Hurston, 265). She goes into detail on how white people are unknown to her in the city she grew up in. If we were to dissect this sentence, a bigger picture...
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...African American literature is surprising, captivating, and spirited. Once you start reading a story it is easy to get caught up in the tale being told. The descriptive nature of the works makes it easy to relate to them. Throughout my readings thus far in the class I have noticed some common themes that reoccur in many of the stories and poems. Of course slavery was a very common topic but there were others such as inequality between the races and sexes, injustice and resentment, the black identity, and a strong faith and religion. Even though the words can be separated in the end they all come back together. There were many narratives written by fugitive slaves before the Civil War and by former slaves in the postbellum era. These narratives document slave life from the perspective of first-hand experience. The stories they tell are dark and ugly. The authors like Douglas and Jacobs reveal the struggles, sorrows, aspirations, and triumphs of slaves in absorbingly personal story-telling. Harriet Jacobs’s Incidents in the Life of a Slave Girl was the first autobiography by a formerly enslaved African American woman. In it she describes her experience of the sexual exploitation that made slavery especially oppressive for black women. She also recounts her life in slavery in the context of family relationships with her escape and her struggle to free her children. Fredrick Douglas who wrote Narrative of the Life of Fredrick Douglas, an American Slave, Written by Himself...
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...2013B Carefully read the following excerpt from the short story “Mammita’s Garden Cove” by Cyril Dabydeen. Then write a well-organized essay in which you analyze how Dabydeen uses literary techniques to convey Max’s complex attitudes toward place. ‘Where d’you come from?’ Max was used to the question; used to being told no as well. He walked away, feet kicking hard ground, telling himself that Line he must persevere. More than anything else he knew 5 he must find a job before long. In a way being unemployed made him feel prepared for hell itself even though he knew too that somewhere there was a sweet heaven waiting for him. How couldn’t it be? After all he was in Canada. He wanted to laugh all of 10 He continued walking along, thoughts drifting back to the far-gone past. Was it that far-gone? He wasn’t sure . . . yet his thoughts kept going back, to the time he was on the island and how he used to dream about 15 being in Canada, of starting an entirely new life. He remembered those dreams clearly now; remembered too thinking of marrying some sweet island-woman with whom he’d share his life, of having children and later buying a house. Maybe someday he’d even own 20 a cottage on the edge of the city. He wasn’t too sure where one built a cottage, but there had to be a cottage. He’d then be in the middle class; life would be different from the hand-to-mouth existence he was used to. 25 His heels pressed into the asphalt, walking on. And slowly he...
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...2013B Carefully read the following excerpt from the short story “Mammita’s Garden Cove” by Cyril Dabydeen. Then write a well-organized essay in which you analyze how Dabydeen uses literary techniques to convey Max’s complex attitudes toward place. ‘Where d’you come from?’ Max was used to the question; used to being told no as well. He walked away, feet kicking hard ground, telling himself that Line he must persevere. More than anything else he knew 5 he must find a job before long. In a way being unemployed made him feel prepared for hell itself even though he knew too that somewhere there was a sweet heaven waiting for him. How couldn’t it be? After all he was in Canada. He wanted to laugh all of 10 He continued walking along, thoughts drifting back to the far-gone past. Was it that far-gone? He wasn’t sure . . . yet his thoughts kept going back, to the time he was on the island and how he used to dream about 15 being in Canada, of starting an entirely new life. He remembered those dreams clearly now; remembered too thinking of marrying some sweet island-woman with whom he’d share his life, of having children and later buying a house. Maybe someday he’d even own 20 a cottage on the edge of the city. He wasn’t too sure where one built a cottage, but there had to be a cottage. He’d then be in the middle class; life would be different from the hand-to-mouth existence he was used to. 25 His heels pressed into the asphalt, walking on. And slowly he...
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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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...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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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal 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...
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...fourth EDItION fourth EDItION This clear, learner-friendly text helps today’s students bridge the gap between Its comprehensiveness allows instructors to tailor the material to their individual teaching styles, resulting in an exceptionally versatile text. Highlights of the Fourth Edition: Additional readings and essays in a new Appendix as well as in Chapters 7 and 8 nearly double the number of readings available for critical analysis and classroom discussion. An online chapter, available on the instructor portion of the book’s Web site, addresses critical reading, a vital skill for success in college and beyond. Visit www.mhhe.com/bassham4e for a wealth of additional student and instructor resources. Bassham I Irwin Nardone I Wallace New and updated exercises and examples throughout the text allow students to practice and apply what they learn. MD DALIM #1062017 12/13/09 CYAN MAG YELO BLK Chapter 12 features an expanded and reorganized discussion of evaluating Internet sources. Critical Thinking thinking, using real-world examples and a proven step-by-step approach. A student ' s Introduction A student's Introduction everyday culture and critical thinking. It covers all the basics of critical Critical Thinking Ba ssha m I Irwin I Nardone I Wall ace CRITICAL THINKING A STUDENT’S INTRODUCTION FOURTH EDITION Gregory Bassham William Irwin Henry Nardone James M. Wallace King’s College TM bas07437_fm_i-xvi.indd i 11/24/09 9:53:56 AM TM Published by McGraw-Hill...
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...fourth EDItION Critical Thinking A student ' s Introduction Ba ssha m I I rwi n I N ardon e I Wal l ac e CRITICAL THINKING A STUDENT’S INTRODUCTION FOURTH EDITION Gregory Bassham William Irwin Henry Nardone James M. Wallace King’s College TM TM Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2011, 2008, 2005, 2002. All rights reserved. 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 consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. This book is printed on acid-free paper. 1 2 3 4 5 6 7 8 9 0 DOC/DOC 0 ISBN: 978-0-07-340743-2 MHID: 0-07-340743-7 Vice President, Editorial: Michael Ryan Director, Editorial: Beth Mejia Sponsoring Editor: Mark Georgiev Marketing Manager: Pam Cooper Managing Editor: Nicole Bridge Developmental Editor: Phil Butcher Project Manager: Lindsay Burt Manuscript Editor: Maura P. Brown Design Manager: Margarite Reynolds Cover Designer: Laurie Entringer Production Supervisor: Louis Swaim Composition: 11/12.5 Bembo by MPS Limited, A Macmillan Company Printing: 45# New Era Matte, R. R. Donnelley & Sons Cover Image: © Brand X/JupiterImages Credits: The credits section for this book begins on page C-1 and is considered...
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...E SSAYS ON TWENTIETH-C ENTURY H ISTORY In the series Critical Perspectives on the Past, edited by Susan Porter Benson, Stephen Brier, and Roy Rosenzweig Also in this series: Paula Hamilton and Linda Shopes, eds., Oral History and Public Memories Tiffany Ruby Patterson, Zora Neale Hurston and a History of Southern Life Lisa M. Fine, The Story of Reo Joe: Work, Kin, and Community in Autotown, U.S.A. Van Gosse and Richard Moser, eds., The World the Sixties Made: Politics and Culture in Recent America Joanne Meyerowitz, ed., History and September 11th John McMillian and Paul Buhle, eds., The New Left Revisited David M. Scobey, Empire City: The Making and Meaning of the New York City Landscape Gerda Lerner, Fireweed: A Political Autobiography Allida M. Black, ed., Modern American Queer History Eric Sandweiss, St. Louis: The Evolution of an American Urban Landscape Sam Wineburg, Historical Thinking and Other Unnatural Acts: Charting the Future of Teaching the Past Sharon Hartman Strom, Political Woman: Florence Luscomb and the Legacy of Radical Reform Michael Adas, ed., Agricultural and Pastoral Societies in Ancient and Classical History Jack Metzgar, Striking Steel: Solidarity Remembered Janis Appier, Policing Women: The Sexual Politics of Law Enforcement and the LAPD Allen Hunter, ed., Rethinking the Cold War Eric Foner, ed., The New American History. Revised and Expanded Edition E SSAYS ON _ T WENTIETH- C ENTURY H ISTORY Edited by ...
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