Thursday, April 9, 2009

Anotated bib

Johnathan Youngbar
1)
I)
Company, F. M. (2009). About Ford. Retrieved april 6, 2009, from The Moving Assembly Line Debuted at the Highland Park Plant: http://www.ford.com/about-ford/heritage/places/highlandpark/663-highland-park

II) This article discusses a part of the Ford motor company’s history. The High Land Park assembly line on October 7 1913 created the first moving assembly line. This technique allowed production time to go from a couple of hours to less than 1 hour. It made the cost of cars decrease because ford didn’t have to pay their employees as much to build their cars.
III) I am going to use this article in my paper for the history aspect. It is very informative. If this technique was not mastered prices would have been off the wall, so in turn with the reduction of price everyone could afford a car.
IV) “Soon the line was improved with a power-drive "endless" conveyor system that was flush.”
2)
I)
Hunt, Margaret W. "Automotive diaspora." Advanced Materials & Processes Apr. 2007: 2+. Academic Search Premier. EBSCO. [Library name], [City], [State abbreviation]. 6 Apr. 2009 http://ezproxy.hacc.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=24717873&site=ehost-live.
II) This article discusses the present and future of American car companies. The companies are in big trouble right now and are loosing the market to out of country companies. Even though this is happening these companies are investing in new technologies.
III) I intend to use this article in my paper in the present and future aspect of my paper. It describes that our car companies are in bad shape right now and loosing to out of country companies but still are investing in new technologies. Some of these technologies are shape memory alloys and polymers as smart materials that can change their shape, strength,
and/or stiffness when heat, stress, a magnetic field, or electrical voltage is introduced.
IV) “Ford Motor Co. is accelerating its nanotechnology research at Northwestern
University into lighter-weight metals and plastics with greater strength, ultimately
helping improve the safety and fuel economy of its cars and trucks.”



3)
I)
Llovet, Diego. "High and Mighty: the dangerous rise of the SUV." Canadian Journal of Urban Research 13.2 (Winter2004 2004): 377-378. Academic Search Premier. EBSCO. [Library name], [City], [State abbreviation]. 6 Apr. 2009 .
II) This book review discusses the issues with driving SUV’s. They are dangerous to both the drivers, passengers and other motorists. They are very prone to rolling over and are hard to control.
III) I am going to use this book review in my paper on the big factor these vehicles are dangerous and hard to control. More and more people are driving these vehicles and are putting themselves and others at risk alike.
IV) “unlike cars, these vehicles are hard to handle, unstable, and prone to rolling over; their design, height and weight are unreasonably deadly for pedestrians, car occupants and SUV passengers themselves; they deepen social inequality by transferring insurance costs to car
owners; and are responsible for undue erosion of cities' infrastructure and environmental pollution.”
4)
I)
Pralle, Sarah. ""I'm Changing the Climate, Ask Me How!": The Politics of the Anti-SUV Campaign." Political Science Quarterly 2006: 397+. Academic Search Premier. EBSCO. [Library name], [City], [State abbreviation]. 6 Apr. 2009 .
II) This article discusses the problems of driving an SUV. The author of the article says it is unchristian to drive these vehicles due to their safety aspect and their terrible fuel efficiency.
III) I am going to use this article in my paper for the “BIG” factor. It is a great article that discusses the truth that we as Americans love to drive big powerful gas guzzling vehicles. It is the hip thing to do these days instead of buying smaller more fuel efficient cars.
IV) "What a lot of protestors are missing is that Americans have a
deep psychological connection to the SUV. American automotive life is about
mobility and freedom. SUVs give you freedom, in a psychological sense, one
that isn't necessarily rational, but is emotional."


5)
I)
Sramcik, Tim. "MUSCLE mystique." Aftermarket Business 115.3 (Mar. 2005): 36-42. MasterFILE Premier. EBSCO. [Library name], [City], [State abbreviation]. 6 Apr. 2009 http://ezproxy.hacc.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=f5h&AN=16401936&site=ehost-live.

II) This article discusses the popularity of the muscle car era and the history of it. It discusses the baby boom and how it affected the car companies to change their way from building “old people cars” to more hip cars for the times younger generation, and how this era has not disappeared people still want these cars.
III) I am going to us this article in my paper because it discusses a brief part of history of the American car companies. I am going to use it in the history part of my paper. It is valuable because it has a lot of informative facts about the 1960’s early 70’s era of the American car companies.
IV) “Decades after Detroit ceased production, classic muscle cars continue to survive and thrive, offering plenty of opportunities for the aftermarket to 'muscle' into.”

Tuesday, March 24, 2009

Robert Held

I have notice an improvement in my work since the beginning of the spring semester. I can definitely see growth as both a student and as a writer where my work has more organization with a consistent flow. What separates this semester from previous is the amount of time I find myself working on assignments. In prior courses, I would attempt to complete essays as quickly and painlessly as possible, only yielding satisfactory grades. English 102 seems to work with students in overcoming writers block and generating ideas. It's much easier to write papers when the writer is establishing a foundation with a clean flow of consciousness. Outside of English, this helps me with taking notes and writing papers for other classes where I find my work to have much more organization.
One particular struggle I come face to face with on every assignment is attempting not to use past-tense verbs. This has been a problem of my writing for as long as I can remember yet I have never made any attempt to correct it. When shying away from over-usage of past-tense verbs, my work is much easier to read and it presents itself in a better way. I definitely need to keep working with this aspect and learn when to, and when not to, use past-tense verbs. Other corrections that I need to work on is sentence structure and vocabulary. I'm somewhat satisfied with some of my work so far this semester but I feel that there is room for improvement. I can get my position across to the audience better if I work on sentence structure and take advantage of words that have a flow. Some specific things I need to do to achieve better writings are as follows:
1. Read more often; broaden vocabulary and overall sentence structure
2. Work more with fluent, instead of complicated, words
3. Ramble on and on before the first draft of an essay to establish train of thought
4. Keep on topic and 'to the point' with essays
5. Continue to avoid past-tense verbs/ learn when appropriate

sidra bortner

Since the start of this semester my personal life has got in the way of school just a little. I get stressed out so easily. I have recently found out that I am going on my second tour overseas to Afghanistan next November. I am not looking forward to that at all. I will have to once again put off on my schooling for over a year. My first semester I did not do well with English 101 at all. I had a hard time with the essays, even though they were not that complicated. I have improved maybe just a little on my writing skills this semester. I have never been really good with English, especially essays. I have a hard time coming up with ideas to start my essays. My introductions and thesis statements are usually weak. I need to expand my vocabulary. I find myself using the same words over again and it gets annoying. So im sure readers get annoyed too. Also, I have problems with finding enough information to get the number of minimum pages for writing. I find myself to starting to come up with things just to put in there that really don’t have too much to do with the topic just so I make the cutoff length. I am a procrastinator I always wait till last minute to do everything, even though this semester I have no excuse. That is something I really need to work on. It is a pet peeve of mine and I drive myself crazy because I am like this.
Since I have started English 102 I have found out about other types of writings. I liked writing the business letter so far in this class. Even though I could have written at least a few pages on my problem/topic that I discussed my concern on. It was hard to keep it all on one page. I can be a very blunt per son for most of the part. I am good with arguing my point, if its something that I am really concerned with. I had some trouble with the rhetoric writing that type of writing was new to me. I also found it important to write more than just one draft. Having to write a few drafts, i come up with more ideas and write a better final draft. I also need to ask for more feedback on my papers
Goals:
1. Do not procrastinate
2. Organize work load better, make some kind of schedule for throughout the week
3. Work on coming up with more ideas
4. Organize paper s better
5. Become a better writer

Mid-Semester Reflection

Coming into HACC Gettysburg this semester was unexpected and decided at the last minute. Financial encumbrances held me back from attending Lehigh University for another semester. Not knowing what to expect, I came in with an open mind. Signing up for several general education classes, I thought I could slide by while still doing well. That was not the case; with a full workload I have more on my hands than I thought. Specifically, my English class here is probably the area that I have developed in the most. Entering the first day, I thought that it would be the same run-of-the-mill English class with requirements and papers, along with boring class discussions and grammatical mumbo-jumbo. I was wrong. Different ideas and activities interested me, enabling me to learn because I could pay attention. From the first week, I knew that I would develop from this opportunity as a writer, reader, and a student. Rhetorical strategies were the first topic covered. Never before had I actually thought about the specific ways to get your point across as a writer, and to power written word actually has. Instead of saying this is what you are assigned, now do it, I was actually able to understand what was going on and how it worked. Music that I actually listen to was discussed, enabling me to grasp the concepts in a broader sense. Introductions, literary techniques, and citations are among the multitude of information that I have soaked up during these few short weeks. I am amazed at how much I have already learned and how much I have forgotten from the past. The way I have been learning here teaches me to broaden these concepts to hold onto forever. Personally, I still have a few goals as a writer and student. Procrastination is my biggest problem by far. Scheduling is something I will work on in the future. Repetitiveness is another element I need to reduce in my writing and incorporating more variety. More reading is another activity I will participate in the future. Expanding vocabulary will also allow me to become a more effective communicator. Bias viewpoints hinder our whole society, from the Left and Right. I will work on looking at both sides to get a more realistic view of the world. The worst thing someone can do is make an uneducated decision, this is why investigating the whole picture is the most important goal of them all for me.
Throughout this semester I have learned that there are many steps in reading and writing, it's not just one or two. Also, you cannot procrastinate when trying to write a good paper, it has to be done in a timely manner. As a reader, I feel as though I have taken more time to read a section or paper so that I can fully comprehend the piece to the best of my ability. I feel I read and give my opinions more now than I ever have. As a writer, I feel that I have made progress. I ask myself questions that I think the audience would ask and answer them in my paper so the confusion level is lower. Also, overall I have been able to express myself throughout my papers. Even though I have made progress, there were also some bumps in the road. I had some confusion at times as to what the teacher was actually looking for. I also had trouble with being able to tell the significant differences between ethos, pathos, and logos.

1. I want to have an A in this course.
2. Create a better schedule for myself to get things done in a timely and more efficient manner.
3. Get other students opinions on my paper and see what their point of view is on it and take it into consideration when correcting my paper.
4. Use of more descriptive words in my papers.
5. I want to rewrite my papers so that I can get a better grade.

Mid-semester reflection paper Mary Martin

I believe that I have come a far way through this semester, with less procrastination and better grades then my last English class in college. I realized that I need to be able to write about something that sparks my interest and that's what I really enjoy, writing about something that intrigues me. This semester one of my personal goals was to not procrastinate and work hard and get good grades through out every class and so far my goal is being reached. I realized a lot of preparation goes into a good paper and it can not be done as a last minute thing. I learned things such as rhetoric and certain aspects of grammar that I did not know/understand before. I am a pretty strong writer but sometimes I get off track and have made grammar errors, I have learned to look through my papers more carefully, with each new draft to make improvision’s to better my writing. I believed that this semester was going to be harder then the last because the higher the class the higher the difficulty; but I soon realized with effort and perseverance comes the reward of becoming a better writer and reader.
I learned how to analyze my papers and make sure how to target my audience and make my paper easy to read and enjoyable for other's to read. How to make a boring story come alive and how to put it all together to have a nice finished piece of work. I learned how to look at other's paper and give constructive critiquing, to help improve their paper without telling them that something was worthless. I learned how to listen to someone read something out loud and pick up mistakes and how to replace poor vocab with more suitable words. I learned how to listen to heading meaning 's in an author's paper and hidden innuendoes. How some things affect our culture and other's do not. I believe that I have grow in my intellect a little more and more with each passing assignment and I believe that I have grown a lot since the beginning of the semester.



My five goals for the remains of the semester
1) make a more reliable and useful schedule for myself
2) make sure to look at all angles of a paper to find mistakes
3) take more time in writing my paper
4) have some one help me review my work and see if I made ant mistakes
5) Try to make my writing stronger

Mid-Semester Reflection from Austin Chandler

I have learned that to be a better reader I have to examine all sides of the story that are presented in materials. As a writer, I have learned that I have to limit my use of be verbs and use stronger action verbs. Also, the amount of adverbs I use need to be limited to those that are necessary and important in my writing. As a student, I have learned how papers and general writing skills need to be used for papers in other classes. As to my growth as a human being, I have tried to help other students when I can when they need help. The concepts that I learned in this class were to recongnize the different rhetoric elements in writings and to use these rhetoric elements in my own writing. Some struggles I have had were to decide on what topics to choose for my writing assignments. With the first essay, it should have been made clear that any reference to imagery from the song needed to be quoted. For the second essay, the letter format should have been shown on day one, that way everyone would have had a better idea on how much room they would have to argue their point. The most difficult assignment so far has been the letter assignment, because I had a first draft that had to be gutted to become the essay I handed in. This learning process has complicated my anxiety about my skills because I sometimes do not know what I need to write for certain assignments. Also, it has complicated my anxiety about research because when I use the resources on HACC web databases, I get some of the most unrelated subject matter that has nothing to do with my topic. What has eased my anxiety about writing essays is that my writing and reading skills are improving, making my drafts and revisions better. The way I approach writing has changed because now I look at what my thesis will be and how to connect the rest of the essay around the thesis. The challenges that I have overcome are to be less wordy in my essays and to use better verbs. My experience in the course has differed from my expectations because in the description the class sounded like we were going to do more with literature based writing instead of more free flow writing.
Five Goals for the remainder of the course:
1. I will use being verbs less often and use stronger action verbs.
2. I will use less adverbs in my writing.
3. I will cut down on my wordiness in my essays.
4. I will stress out less when I have to do an assignment.
5. I will not use passive voice as much in my essays.

Revised Revised Schedule

HACC English 102
Revised Schedule: Weeks 8-14



WEEK 8
T-3/24- Essay #3 draft #1 due
R-3/26- Bring in an example of a critique on American culture.
-Read pages 1015-1025



WEEK 9
T-3/31- Essay #3 draft #2 due
R-4/2-


WEEK 10
T-4/7-
R-4/9- NO CLASS
-Essay #3 final draft due
-Annotated Bibliography due


WEEK 11
T-4/14- Assign Artistic Translation
R-4/16- Essay #4 draft #1 due: Workshop




WEEK 12
T-4/21-
R-4/23- Conferences

WEEK 13
T-4/28- Conferences
R-4/30- Essay #4 draft #2 due
-Revisions of Essays 1, 2, and 3 due

WEEK 14
T-5/5- Artistic Translation Presentations
R-5/7- Artistic Translation Presentations
-Essay #4 final draft due

Mid-Semester Reflection from Mark Lundh

Well, for this mid-semester reflection i have to state that this class hasn't happened the way I thought it was going to. I plannly thought this class was going to 80 % reading and 20% writing, which it totally wrong. This class is more or less a lot of writing and not a lot of reading. I think for me personally this class has gone fairly well, I'm mean there were times when I was bitting my nails on some of these essay's, especially the first essay. I had no clue about the song or how to write it, but I push on and was really glad to get that essay done. The second essay was by far the most enjoyable to write because it didn't take a lot of thought to come up with a subject to write and not to mention it was a local issue. It made me learn about the handicap situtation that is currently happening in the city of Gettysburg in a way that I would normal not give a care to learn, because I don't see it affecting me at all.
I think the ways I've grown in this class is the ability to push me past my discomfort levels and to reach into levels of my writing that I normally wouldn't reach on my own. Not only that but to deal with subject matters that I would brush off on my own, but with this class it has to be dealt with. Also I have grown as a person in my writing to few things in a different light and accept different views and to change my own personal ideas about things.
Five Goals for the Remainder of Class:
1) To keep on pushing my writing past that discomfort level I have
2) To have a better understanding of my writing and seeing where it's taking me in life
3) To further grown as a person trying to find a place in this world
4) To understand people views and to see where there coming from (regarding their ideas)
5) To further evolve my writing and finish all these essays on time
I have realized that there are a lot of steps in the writing and reading processes. its not just one step, but many combined to get to the end. i have learned that you can not procrastinate in college and you need to get your work done in a timely maner. i beleive that i can use this knowledge in my future in the carere ( is that how you spell that). this doesn't just apply to school it applies to everything that i will be doing in the future.
I have strugled with the fact that now i have all of these assignments due in a short period of time. Not just in this class but in my other classes as well. I believe now that i need to make a schedual for when i am going to complete all of this stuff. I have had problems writing my bibliographies, but do believe that i have improved from my past experiences. I know i had issues writing them in my last english class, but think they are getting better.
I think now with all of these assignments that are due in a short period of time not just in this class is kind of overwelming. The most dificult assignment that i have had would have to be the one that we are working on right now. It seems like it is all over the place, and i don't know where to start. The other ones were fine. I had them pretty well under control.
The learning process has complicated and eased my anxiety. It has complicated it due to the fact that there are so many steps in it, and im not quite sure where to start. It has eased it due to the fact that now i know there are steps to getting to the end. It's not just writing a paper in one step.

I will try not to procrastinate as much.
I will make a calender of when i want to complete things.
I will try not to stress as much as i do.
I will write my papers to the best of my ability.
I will try to use more discreptive word in my papers then just little words.

Monday, March 23, 2009

Annotated Bibliography Assignment

ANNOTATED BIBLIOGRAPHY ASSIGNMENT: 100 POINTS

BASIC ORGANIZATION FOR EACH ENTRY OF ANNOTATED BIBLIOGRAPHY (5 ENTRIES TOTAL, 20 POINTS EACH):

I. CITATION (MLA STYLE, AS WOULD APPEAR ON WORKS CITED PAGE)
II. SUMMARY/ANALYSIS OF ARGUMENT (PARAGRAPH)
III. RELEVANCE/VALUE OF SOURCE (PARAGRAPH)
IV. REPRESENTATIVE QUOTATION

Mid-Semester Reflection (In-class 3/24)

Mid-semester Reflection Writing Assignment: 25 points.


For this assignment, you will write a one-page, singe-spaced reflection on your growth throughout the first half of the semester. I want you to address the ways you've grown as a reader, writer, student, and human being. I'd also like you to discuss any struggles you've had so far and how you've gotten through them (or plan to). The reflection should end with a numbered list of five goals for the remainder of the course. These goals may address any aspect of being a better writer, reader, or student. Some examples might include: "I will decrease the number of adverbs in my writing, replacing them with stronger verbs." "I will look up all words I don't recognize while I'm reading to expand my vocabulary." "I will create a better schedule for myself so that I don't procrastinate."

Questions you might answer in this assignment: How have my writing and reading skills improved? What challenges have I overcome with my writing and reading? What concepts have I learned? How have I learned to apply these concepts to my reading and writing? What specific problems did I have with certain assignments? What has been the most difficult assignment? How has the learning process complicated and eased my anxiety about my skills? What has changed about the way I approach the writing process or a reading assignment? How have I changed/grown as a student? What new learning skills have I acquired? How has my approach to my work changed? How has my experience in the course differed from my expectations? How have my own skills differed from my expectations of them?

Monday, March 16, 2009

Revised schedule for rest of semester

HACC English 102
Revised Schedule: Weeks 7-14


WEEK 7
T-3/17- Essay #2 final draft due
Assign Essays #3 and #4
R-3/19- Bring in an example of a critique on American culture.
Assign Annotated Bibliography


WEEK 8
T-3/24- Essay #3 draft #1 due
R-3/26- Essay #3 draft #2 due


WEEK 9
T-3/31- In-class writing
R-4/2- Essay #3 final draft due



WEEK 10
T-4/7- Annotated Bibliography due
R-4/9- No class


WEEK 11
T-4/14- Essay #4 draft #1 due: Workshop
R-4/16- In-class writing
Assign Artistic Translation



WEEK 12
T-4/21- Essay #4 draft #2 due
R-4/23- Conferences

WEEK 13
T-4/28- Conferences
R-4/30- Essay #4 final draft due

WEEK 14
T-5/5- Artistic Translation Presentations
R-5/7- Artistic Translation Presentations

Assignments for Essays #3 and #4

Essays #3 and #4

The last two essays for the course will act as one, long research project. The assignment for essay #4 is below, and essay #3 will act as a proposal for essay #4.


Essay #4: Informed Critique on an Element of American Culture (6-8 pages)


This essay will require you to critique a specific element of American culture. You will also be required to do some research, incorporating at least five outside sources into your writing. You might, for instance, want to assess the treatment of “The American Dream” in The Simpsons, or how religion overlaps politics and government, or how obsession with celebrities takes the place of other knowledge. Whatever you choose, just be sure to write about a topic that you are interested in or curious about. Then, use specific examples to support your critique.

Remember, when critiquing something you are showing a very detailed and specific understanding, and working toward a careful explanation that deeply considers the details of your subject. Also, critiquing does not necessarily mean to cast something in a negative light. The goal of the research is to discover what others before you have said about your given subject, come to your own conclusions, and add your voice to the conversation. When considering audience, keep in mind that you are writing for readers outside of our classroom community. What would an intelligent, concerned American citizen need to know about your subject in order to take an informed stance? This essay will also require MLA formatting.
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Now that you know the prompt we are working toward, we will begin essay #3, a proposal. Below, I've outlined what each draft for essay #3 should contain and what form it should take.

Draft 1 of Essay #3: Generating an Inquiry

Step One (1/2 page list): This is an invitation to ramble. Start writing down a half-page of questions that you wonder about American culture. They might be questions about your chosen line of work, an artwork or artist you admire, your dreams for yourself, your inner life, your family, some person, some issue, some scientific question. Some examples might include: Why do American prisons hold the highest number of people in the world? How has Tupac Shakur influenced hip hop? How does the American dream support the lifestyle of the blue collar worker? What role does immigration have on the economy? What is the United States' relationship with the other Americas? Where does American art stand in relationship to the world? As you can see, many of these questions take on a movement from "local" to "global" issues. This is something to think about as you draft these questions.

Generate about a half page’s worth of questions, and then pick one or two questions that you really wonder about.

Step Two (2 or 4 paragraphs): Once you have a couple of questions that you really wonder about, write a paragraph (or two paragraphs, if you have two questions) exploring why it matters to you or anyone else what the answer(s) to this question might be. Write at least one paragraph explaining why you personally are interested in the question, and then write at least a paragraph explaining how the question might affect persons besides yourself. What might you find out in the course of engaging your question(s) that could matter to someone besides yourself?

Step Three (3 or 6 paragraphs): For one or both of your questions, write everything you already know or suspect; recall and write down everything you have already seen or heard about that relates even slightly; retell in brief things you’ve already encountered about it in movies, television shows, books, songs, or art; and then offer several possible answers for the question (even if you have to imagine them or make them up). Spend at least three paragraphs on this step.

Step Four (7 interview questions): Imagine you are going to interview 5 people to find out their reactions to and/or ideas about your question. Who do you know that you could ask? Write down their names. (They can be friends, family, and co-workers.) Who else could you imagine asking, even if you don’t know them? (Any celebrities, or people no longer living?) Write down at least seven questions that you could use in an interview format to explore your central question.

Step Five (List at least 10): What types of books, newspaper articles, songs, magazines, radio shows, movies, t.v. shows, church materials, publicity materials, brochures, advertisements, community organizations, or public people might have something to say about your question? List as many as you can think of. (Example: If someone were to ask “Why have so many successful celebrities—Marilyn Monroe, Judy Garland, James Dean, Kurt Cobain, etcetera—killed themselves?” they might list as possible sources of information or thought about the issue such items as newspaper articles about the various deaths, autobiographies or biographies of the famous people, books about suicide, books about depression, books about drug abuse, a public suicide hotline, psychiatrists, movies or songs by the deceased persons, interviews with the deceased persons, brochures about suicide/depression/drug abuse, bio-pics or mini-series, and so on.) List at least ten. If possible, say which of these you’d be most curious to look at, and why you think that this source/these sources might be particularly illuminating or fascinating.

Step Six (List at least 10): Write down as many “sub-questions” or “related questions” as you can think of. (Example: What would make a celebrity hate their life? What would make a celebrity depressed? Why would suicide be attractive to a person? What do psychiatrists have to say about suicide? What do clergy persons say about suicide? Are drugs often related to suicide? Is there a certain age range or other risk factors associated with suicide? How could a person find a way out of depression or despair?) List at least ten.

Step Seven (variable): Write down any additional thoughts or ideas you have had about your question in the course of completing this assignment.

Step Eight (1 paragraph or more): Say what you think would be hard about trying to deal with this question. Keep in mind that “dealing with a question” doesn’t necessarily mean finding an answer to it, but maybe finding several answers, or just speculating, or even imagining possible answers. Write at least a paragraph.

Step Nine (1 paragraph or more): Say—perhaps for the second time—what would be interesting and worthwhile about engaging this question. Write at least a paragraph. After writing your entire first draft, this last part re-centers your ideas in the context of what you've thought about.

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Draft 2 of Essay #3 (minimum of 2 pages)

In this draft, you will organize and synthesize your ideas from draft 1 into a proposal. It should answer the following questions:

Introduction: Include focused idea (beginning of a thesis)
Why does this topic matter to you? To your audience? What is important about it?
What sub-questions will you explore?
What is your stance on the topic? Will your critique be in support of, against, or indifferent to the issues highlighted in your topic?
What kinds of sources do you expect to use?

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Draft 3 of Essay #3 (minimum of 1.5 pages)

Works cited page using MLA format
Minimum 1 source

After writing your proposal, you have a BIG research question. The purpose of Draft 3 is to explore a small piece of it. Choose one of your smaller questions, and make that the title of this essay. This is your starting point.

From there, dive into your research. What type of information should you find to answer this smaller question? Are there multiple questions beneath it as well? The goal is to learn more and hopefully be inspired and energized by surprises along the way. Don't be afraid to use yourself in the essay. Include your ideas and experiences and begin to establish whatever presence you'd like to have in your research.

This "segment" of your longer essay should include the focusing idea for your paper and at least one source. Take the time to converse with this other voice. State what you agree with, what you disagree with. Begin to develop your stance on any issues, and from there, begin composing your thesis. Though this is the final segment of Essay #3, it will act more like a beginning draft for Essay #4.

Thursday, March 12, 2009

Examples of American Culture Critiques

Title:The future of the American frontier: can one of our most enduring national myths, much in evidence in the recent presidential campaign, be reinvented yet again?(Cover story)(Essay).
Author(s):John Tirman.
Source:American Scholar 78.1 (Wntr 2009): p30(11). (4396 words)
Document Type:Magazine/Journal
Bookmark:Bookmark this Document
Library Links:
Full Text :COPYRIGHT 2009 Phi Beta Kappa Society

The presidential campaign of 2008 will be recalled for many firsts: the first African-American presidential nominee, the near-miss campaigns of Hillary Clinton and Sarah Palin, the record spending and record turnout. But what was not new was its reliance on a very old standard of American politicalculture, the frontier myth. Perhaps no other set of ideas about America is more powerful politically, and the two autumn campaigns were reverential in their implicit bow to, or explicit exploitation of, the dense complex of frontier images and values attached to the American experience.

The limitless possibilities of the American dream, the expansion of American values, the national effort to tame faraway places, the promise of a bounty just over the horizon, and the essential virtue of the American people who explore and settle these frontiers--all of these tropes fortified the hopes of the campaigns to situate their candidate in the company of legendary pioneers. It is a testament to the power of this myth that it grips us still--its self-gratifying qualifies having ensured its long lineage--even as the actual frontier of American action is swiftly closing. A century ago, the closure of the continental frontier obsessed politicians and intellectuals alike. Today, when the global frontier is closing, our political leaders have little sense of its significance.

Instead, the run for the White House recycled the frontier myth with scarcely a nod to its growing irrelevance. The Republican ticket, representing Western frontier states, was exemplary in this regard. John McCain's credentials as a genuine hero were much in play. In frontier mythology, the hero is central to how we understand the tasks of taming the wilderness and extracting its bounty, and from Andrew Jackson to George Armstrong Custer to Jimmy Doolittle, the American hero has often been a warrior. That burnishing fact of McCain's career was front and center in the political campaign. His self-description as a "maverick" glosses the hero status neatly, because the hero in our national narrative is typically the loner seeking justice. He repeatedly called himself a Teddy Roosevelt Republican, invoking one of the icons of the frontier myth, a self-made hero if there ever was one. And in his campaign he recycled one of the sacred phrases political leaders like to use to underscore their commitment to America's unique greatness--John Winthrop's line from Matthew that we are "as a City upon a Hill," an exemplar for all the world.

The maverick hero was joined on the ticket around Labor Day by Maska Governor Sarah Palin, who was introduced as yet another maverick and a frontier mother who hunts and can "field dress" a moose. Much was made of this, both sarcastically and triumphantly, but the direct embrace of the frontier myth was unmistakable and instantly popular. "The gun-toting Sarah Palin is like Annie Oakley," exulted Camille Paglia, "a brash ambassador from America's pioneer past." One conservative blogger called her "a Western frontier version of Thatcher." In viewing the giddy Palin debut, one reference that came to mind was historian David W. Noble's depiction of "timeless space" as a treasured American perspective--the absence of confining histories, cultures, or mores, combined with the limitless American landscape. Maska self-consciously conveys those qualities, considering itself a residual frontier, and the many exciting possibilities of that frontier were rejuvenated in the person of Maska's governor.



The Democratic ticket's claim on frontier values was less obvious. Barack Obama invoked John E Kennedy, Harry Truman, and Franklin D. Roosevelt as paragons of a global leadership that must be renewed, implicitly assuming that the whole world is our rightful domain of action. In this, he is in the internationalist tradition that seeks to promote American values, missionary-like, to a grateful world. As an Illinois lawyer-politician and as an African American, he is readily associated with Lincoln as frontier hero and liberator of the slaves. In his manner and education, he has often been compared with Kennedy, the new frontiersman. Obama's intriguing personal journey is that of a lone truth seeker on a quest (common to all heroes), in this world but somehow always elevated above the mundane, an American Odysseus. His rapid rise to national prominence has been built on the irrational hope of his supporters that he can singlehandedly transform politics and the world, and indeed he was lampooned on the right as a Christ poseur.

What is striking about these candidates is the authenticity of their credentials. McCain's heroism is evident in his gruesome captivity narrative, replete with cycles of courage and weakness. Obama scaled heights never before ascended by a black American, overcoming obstinate racism and xenophobia as the Herculean labors of a new epic. (Compare these two with the would-be cowboys Ronald Reagan and George W. Bush clearing brush from their ranches.) These truly heroic images are among the reasons why the campaign was fought so fiercely.

As the 2008 election shows, we can't escape the frontier, even if the frontier has escaped us.

Why is the frontier myth losing its relevance? When the continental frontier closed--when the last indigenous tribes were subdued and the land taken--it created a sense of crisis in American politics. The answer to that crisis was to look outward, across oceans, to imagine frontiers to conquer abroad. Much of the ensuing century has involved America on such global frontiers. But now that frontier is also closing, as our capacity to treat the world like a virgin terrain diminishes, and the question it stirs is What next? What frontier, if any?

The cultural theorist Richard Slotkin describes the myth of the frontier as "the conquest of the wilderness and the subjugation or displacement of the Native Americans ... the means to our achievement of a national identity, a democratic polity, an ever-expanding economy, and a phenomenally dynamic and 'progressive' civilization." This conquest, he explains, was not only pursued for its own tangible rewards--security, land, and riches--but for and by a morally cleansing series of "savage wars" that conveyed upon the pioneers a "regeneration through violence." It was at the frontier, where civilization confronted wilderness, that American values were forged. The frontier provided abundance for those courageous enough to seize it, in contrast to the scarcity and squalor and discontent common in cities in the East. The frontier myth braced and was braced by individualism, Social Darwinism, Manifest Destiny, and similar traditions of American ideology, and has been endlessly replayed and elaborated through the cultural power of novels, films, and journalism. While not always recognized for what it is, it informs our foreign policy, our sense of place, and our purpose on this planet.

The world as an American frontier was a new idea when Theodore Roosevelt, Woodrow Wilson, and a few other intellectuals assayed the closing of the continental frontier. Roosevelt was a central figure in this realization. His lament about the closing frontier drew on an essentially racialist notion of how Americans--or Americans of a certain heroic class--subdued the savages and thereby burnished their own virile qualities and moral capacity to lead. The historian Frederick Jackson Turner promoted the more palatable idea that democratic self-reliance was a consequence of the American frontier experience, and that the closing of the frontier (which the Census Bureau proclaimed in 1891) was a threat to American democratic virtue. The frontier had also provided the United States a safety valve for development, unlike Europe, where socialism and class antagonism marred the political landscape. The economic stagnation America was experiencing in the 1890s, after a heady period of economic expansion, was one alarm ringing through all the thinking about the frontier and its legacy.

If the end of the North American frontier was a crisis for democratic and manly virtue, Roosevelt and Turner had an answer: extend the frontier elsewhere. Long before the USS Maine was blown up in Havana harbor, Roosevelt advocated war with Spain, which bestowed the Philippines to the new American empire and provided Roosevelt with the "savage war" and Asian foothold that were meant as an antidote to the frontier's demise in North America.

Woodrow Wilson was less bombastic but no less committed to the extension of the American idea. "The spaces of their own continent were occupied and reduced to the uses of civilization; they had no frontiers wherewith 'to satisfy the feet of the young men,'" he wrote in A History of the American People. "These new frontiers in the Indies and on the Far Pacific came to them as if out of the very necessity of the new career before them." In the White House, from which Roosevelt suppressed the Philippines rebellion and built the Panama Canal, both with a high human toll, Wilson invaded Mexico, Nicaragua, the Dominican Republic, and Haiti before entering World War I. All of these actions undertaken on behalf of democratic ideals prefaced his attempts to make the world safe for democracy. While he was, in contrast to Roosevelt, increasingly anti-imperialist, he was no less expansionist--in one historian's words, the "very model of Turner's crusading democrat."

The myth has been remarkably resilient. Not only did it inform American expansion globally during the presidencies of FDR and Truman, but the uncertainties posed by the Cold War (which used cowboys-and-Indians iconography time and again), the nuclear arms race, and subsequent crises of confidence (particularly urban crime, oil price explosions, the 1979 hostage taking in Tehran, and the 9/11 attacks) led to the embrace in popular culture and politics of the comforting narrative of civilization versus savages. The myth remains vibrant, but the frontier itself is disappearing again.

The end of the Cold War was the first sign that the global frontier was, closing. The superpower standoff formed much of the United States identity in that phase of our global involvement, and its power explains our failure to construct a successor to that form of engagement. The "twilight struggle" with Soviet communism still shapes how we structure foreign relations, institutions, military doctrine, public diplomacy, and our sense of self-worth. It was a colossal, Manichaean contest, much like the one the pioneers experienced as they cleared and settled the continent. The anticommunist campaigns, which began internally as long ago as Wilson's intervention against the Bolsheviks from 1918 to 1920, resulted in dozens of military interventions, CIA covert operations, and lavish support for anticommunist regimes. This pattern was nourished by the depiction of communists as a threat to civilization. The conclusion of the U.S.-Soviet rivalry nearly 20 years ago thereby drained American globalism of a paramount ideology--a way of seeing ourselves in the world--and the supposed vitality that came with the waging of "savage wars" in Africa, Latin America, and Asia. It is with difficulty that we let go. That the war on terrorism closely followed, and invoked this warrior myth--the fight for Western values against barely human and wholly alien "hostiles"--should come as no surprise, since it evinces a purpose built by the Puritans and renewed throughout our history.

In the aftermath of the attacks of September 11, 2001, America instinctively reverted to the old category of a battle for civilization's soul. Susan Faludi, in The Terror Dream: Fear and Fantasy in Post-9/11 America, incisively applies Slotkin's framework to this rapid mobilization for a "war on terrorism," especially the regeneration through violence for the heroic men of America. This battle intoxicated the nation for a time, but the scale, threat, and results look paltry in the shadow of previous warrior epics.

So while the ennobling and rewarding savage wars of the anticommunist frontier are diminishing, that pattern of mobilization and intervention has simply been imitated, with relatively little retooling, in the war against small and scattered gangs of Muslim extremists. This mimicry is likely to fail. The menace of would-be shoe bombers and a few restive Muslims in faraway and desolate places pales before the thousands of nuclear weapons that were aimed at us by the Soviets, the millions killed in Korea and Vietnam, and the totalitarianism of Stalin or Mao. The relentless invocation of every soldier or firefighter as a hero dilutes the essential mythic heroism once reserved for a Boone or a Crockett or a Lindbergh. As in Vietnam, moreover, the "Indians" are not so easily subdued, and the costly setbacks of the anti-terrorism campaigns are stirring a growing distaste for savage wars.

The end of the global frontier is also evident in its diminishing bounty. A primary cause of the imperialistic urge of the 1890s was the perceived need to export American products to sustain or increase production domestically and to relieve labor agitation. Such a boom in exports followed, enabled by natural resources and agricultural production. But the U.S. trade situation turned sour in the 1970s and has continued to deteriorate ever since. The decline is precipitate. In 1992, the trade deficit was $50 billion. In 2007, in constant dollars, it was $730 billion. As a percentage of all economic output, exports did not exceed the levels of 1900 until the 1990s, and by then imports were outpacing exports.

At the same time, income has stagnated for three decades for all but the wealthy in America--a direct slap at one of the tenets of the frontier myth, that expansion would lessen unequal distribution in the American economy. "The bonanza frontier offers the prospect of immediate and impressive economic benefit for a relatively low capital outlay," Slotkin writes in Gunfighter Nation (1992), and "bonanza profits derive from the opportunity to acquire or produce at low cost some commodity that has a high commercial value." In the 19th century, the bonanza was gold and land; in the 20th-century global frontier, it was oil and other minerals, financial products, and cheap goods from abroad.

The dismal performance of the global economic empire is often attributed to the nationalization of oil assets in OPEC countries, but even when oil prices were low in the 1980s and '90s, the U.S. trade balance and personal income statistics were deteriorating. The declines have come during the period of insistence on free markets in the developing world (another modern-day equivalent of bonanza economics), a doctrine that proved ineffective if not disastrous for those countries over the last quarter century. The free market is attractive in theory, but when pitting transnational corporations against small developing countries it becomes an arena of economic predation. At the same time, rivals for economic dominance, including the European Union, Japan, China, India, Russia, and others, are crowding out U.S. control of markets and resources, a trend that is accelerating. The expansion on this continent was made possible by pushing out the British, French, Spanish, and Mexicans, and by eliminating the indigenous tribes, but this is no longer feasible in the global frontier.

The 2008 crisis in America's mastery of global finance signaled another sharp reversal. In the midst of the market turbulence that shook Wall Street and foreign markets, German Finance Minister Peer Steinbruck proclaimed that "the United States will lose its status as the superpower of the global financial system. The global financial system will become multipolar" and use a more diversified basket of currencies, undermining one of the last symbols of America's economic strength--the dollar. It was a sentiment widely echoed throughout the capitals of the world.

The most important reason for the closing frontier, however, is the limits of the earth itself, the biological capacity that is now diminishing with frightening speed. This is a consequence of the "taming of the wilderness," which has certainly been tamed and is now wreaking its revenge. The longstanding notion that resources were ours for the taking, and for using promiscuously, is no longer viable. The closing of this frontier not only impedes economic growth built on this attitude (the engines fueled by cheap oil in particular), but has other costs as well--the agricultural, health, and safety challenges of rapid climate change, among many others.

The depletion of earth's resources and the climate change that results from profligate consumption of those resources are well established now among scientists. The Washington reaction to this is right out of the frontier-myth playbook, however, and indeed is reminiscent of the debate that surrounded the onset of outward expansion of a century ago. Then, as now, the anti-imperialists were condemned as elitists and weak willed, people attempting to impede America's God-given right to take our mission to the rest of the world. Today, the very modest proposals for arresting carbon emissions, for example, are derided by many proponents of big business as part of the global warming "hoax" that seeks to deprive Americans of economic growth and unbridled consumption. The intemperate quality of the attacks signals that a deep chord has been touched, the belief in the ever-expanding frontier that is pioneered and settled by Americans. The deterioration of the earth's ecosystem was rarely mentioned in the 2008 campaign.

The war in Iraq illustrates how these three phenomena converge. It was fought in part to fulfill the new imperatives of the war on terrorism, and it was a war, so thought the Bush advisers, that we knew how to fight--armored divisions, air power, command and control, and so on, reflecting Cold War preparations. The mission (apart from the alleged nuclear, chemical, and biological weapons) harkens back to the "civilizing" impulse of Roosevelt and Wilson and displays all the racial typing of the natives, and callousness toward them, that marred U.S. interventions in the Philippines, Vietnam, and Latin America. The "bonanza" is the promise of oil, and the control of oil pricing worldwide. With its predecessor, Operation Desert Storm, Operation Iraqi Freedom signals how American consumption has led directly to large-scale resource wars, this one now 18 years in duration. An air of desperation clings to the war, as the mismatch of expectations and outcomes becomes ever more apparent, and as the inability of the United States to treat the world as its virgin domain is exposed.

Given these odious consequences, what is the future of the frontier and its myth? The reflexive answer is to discard it altogether as a guiding set of values. The frontier metaphor imparts ideas of American exceptionalism and the moral right to resources, cultural superiority, and limitlessness in all things we choose to do. If there are no limits, there is no need for common struggle. If the world is our oyster, there is no need for restrictive rules and regulations, for lowering expectations. Four hundred years of this ideology--fostered and promoted by church and state, the news media, schools, and popular culture generally--has nurtured this exceptionalism that feeds arrogance and wastefulness and war.

But the myth is resilient. The alternative is to reinvent it, to co-opt, in effect, frontier symbolism from its destructive tendencies and transform it into something more vital. Many leaders have attempted to use the frontier metaphor as a way of launching ideas for reform or renewal, invoking, for example, "the war on" campaigns--the war on poverty, the war on drugs, the war on cancer--which draw on the conflict and moral struggle that played such a central part on the frontier. Some of the discourse about globalization today uses concepts similar to the frontier ideology: both the "clash of civilizations" (from Samuel Huntington) and the more piquant "clash of globalizations" (from Stanley Hoffmann) grapple with American-led cultural, political, and economic change and the conflicts and bonanzas they may be encountering or inducing. Yet very few political or opinion elites recognize the frontier myth--the restless urge to expand and to dominate--as the root and branch of our self-defined global role. Thus very few have tried to alter its course and meaning.

The most intriguing attempt to harness the myth in recent memory was John E Kennedy's New Frontier, which was the core concept in his acceptance speech as the Democratic Party's nominee and throughout his 1960 campaign. He recalled the past in the conventional way--the pioneers who settled the American West "were not the captives of their own doubts, nor the prisoners of their own price tags," he told the convention. "They were determined to make the new world strong and free--an example to the world, to overcome its hazards and its hardships, to conquer the enemies that threatened from within and without." But then he went on with a more interesting twist:

Some would say that those struggles are all over, that all the
horizons have been explored, that all the battles have been won,
that there is no longer an American frontier.... Beyond that
frontier are uncharted areas of science and space, unsolved
problems of peace and war, unconquered problems of ignorance and
prejudice, unanswered questions of poverty and surplus. It would be
easier to shrink from that new frontier, to look to the safe
mediocrity of the past, to be lulled by good intentions and high
rhetoric.... I believe that the times require imagination and
courage and perseverance. I'm asking each of you to be pioneers
towards that New Frontier.


Kennedy still used the older mythic call as a "race for mastery of the sky ..., the ocean ..., the far side of space, and the inside of men's minds," but the notion that the frontier was not geographical or spatial, but one of applied knowledge and of human relations, was an innovation and one that has not been surpassed. That Kennedy and his cohort did not live up to this new inflection of the frontier myth scarcely needs noting, but the rhetorical framing of a new kind of frontier, a half century later, might have finally met its moment.

Using the metaphor as a way of galvanizing both the public and our political leaders to adopt new challenges--challenges to be explored and tamed, from which public good can be extracted--may be more plausible given what we now can see about global limits. The need to arrest climate change with sustainable development is just such a challenge, one that must broadly mobilize society. How to reshape our politics to confront this challenge is not a problem with an obvious solution. The frontiers of science or knowledge are hoary notions, but as a counterpoint to the decaying frontier myth, they possess renewed vibrancy--and are especially potent if linked to the new mission as a heroic feat. The hero is the human exponent of the frontier myth, and all heroes embody qualities that speak to the anxieties of the age. Self-sacrifice, an innate sense of purpose, physical or intellectual prowess, and a willingness to confront the dangers of the frontier--all are qualities of the hero.

Meeting the environmental challenge requires more than colossal investments in science and intensive diplomacy; it mandates a shift in the way we think about U.S. goals, our range of action, and our commitment to values beyond self-enrichment. It requires collective, heroic action, the kind that can move a society in times of peril. And it requires a new lens on the world, one that sees in developing countries not bounty but common needs and aspirations. The environmental crisis binds us globally in ways that no previous cataclysm ever has--not war, not epidemics, not other natural disasters. If the oil addiction of the industrial countries is not reversed soon, the resource wars we have suffered already will intensify along with the choking effects on air and oceans. If China and India do not reduce their rate of growth in carbon emissions, the earth's ecosystem will be dangerously degraded. If Brazilian rainforests continue to be mowed down, we lose precious and possibly irreplaceable sources of oxygen to refresh the atmosphere. If sustainable development cannot be fostered in Mexico and Africa and the Middle East, the migrations to the industrial world will induce intolerable social and economic stress. These are collective problems by dint of their inexorably collective outcomes. And in this, the world now differs radically from the one that was merely a frontier for exploitation.

When we look to the three signals of how the frontier has closed--the warrior ethos, bonanza economics, and environmental limits--it is apparent that all three are equally culpable and equally important to a transformative politics. Fortunately, the dominant myth of the frontier is not the only distinctly American modus vivendi, as leaders as far apart in time as John Winthrop and John Kennedy demonstrate. Our political and cultural leaders today, however, have rarely hinted at the imperative to reconstruct our mental architecture of the world and our place in it. If the world is essentially regarded as a font of anti-American terrorism or rivalry, as a social, political, and physical wilderness to be tamed, then we will be battling in the diminishing space our old habits have forced us into. That frontier is closing. The daunting but necessary task of redefining our horizons is upon us.

Where to start? Perhaps at the beginning. Winthrop's line from his 1630 sermon, "we shall be as a City upon a Hill," is frequently intoned to suggest that America is uniquely gifted and providential. Countless politicians have sermonized with this gratifying image and used it, erroneously, to celebrate belligerence, individualism, and aggrandizement. Looking at Winthrop's whole text presents a different sense of what the meaning of that phrase might be. He implored the Puritans to

do justly, to love mercy, to walk humbly with our God, for this
end, we must be knit together in this work as one man, we must
entertain each other in brotherly affection, we must be willing to
abridge ourselves of our superfluities, for the supply of others'
necessities, we must uphold a familiar commerce together in all
meekness, gentleness, patience and liberality, we must delight in
each other, make other's conditions our own, rejoice together,
mourn together, labor, and suffer together, always having before
our eyes our Commission and Community in the work, our Community as
members of the same body, so shall we keep the unity of the spirit
in the bond of peace.
There was more, of course, and not all of it gentle and meek, but it is remarkable how humble and communitarian and ascetic his vision was, a vision reflecting the ethos of the early Massachusetts Bay Colony. More remarkable still is how suited such an ethos could be again. So the answer to the question "What frontier now?" may be to return to the humility of the first frontier.

John Tirman, the executive director and principal research scientist at MIT's Center for International Studies, is at work on a book about Americans' attitudes toward war.


Source Citation:Tirman, John. "The future of the American frontier: can one of our most enduring national myths, much in evidence in the recent presidential campaign, be reinvented yet again?(Cover story)(Essay)." American Scholar 78.1 (Wntr 2009): 30(11). General OneFile. Gale. Columbia College Library (Chicago). 12 Mar. 2009
.
Gale Document Number:A192052988


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Title:Civilization: Just add water: Without irrigation, Ark Valley would suffer from its nature.
Source:Pueblo Chieftain (Pueblo, Colorado) (March 8, 2009)(749 words)
Document Type:Newswire
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Full Text :COPYRIGHT 2009 The Pueblo Chieftain

Byline: Chris Woodka

Mar. 8-------- TAMING THE LAND The Arkansas Valley plain was once an inhospitable land, called by some "the Great American Desert." In the middle of the 19th century, it began to change as railroads, cities, factories and farms displaced the American Indian culture that viewed the valley mainly as a hunting ground. Slowly at first, and then in a rush in the 1870s and '80s, the area grew. While there were many factors responsible, none was as important as irrigated agriculture, which remains the backbone of the valley. This series of weekly articles will look at the development and trends of irrigated agriculture in the valley. To comment or make suggestions, please contact Chris Woodka, 719-544-8214, or cwoodka@chieftain.com.

------ The main features of the landscape were rocky crags in the arroyos. Streams disappeared before reaching the river, and were sparsely lined with cottonwoods and an undergrowth of plum, mountain currant and wild grape. If there were trees any distance from the river, they were scrubby white cedar. Many of the streams, and sometimes the river itself would disappear during

the driest times, and turn into deadly walls of water during a heavy rain. The water was often brackish. On a few of the upland tracts there were patches of grass, which up until about 1872 sustained buffalo herds for the 10,000 or so indigenous Cheyenne, Arapahoe,

Kiowa, Comanche, Ute, Apache and Crow people who might be hunting in the valley at any given time. That describes the Lower Arkansas Valley as it was known before Europeans entered and built irrigation systems that changed the landscape, according to a history by Charles Bowman published in 1881. By 1881, it had been 75 years since Zebulon Pike's early forays into the valley; 50 years since Kit Carson first stopped at Bent's Fort; and more than a decade since the railroad began spawning towns up and down the Arkansas Valley.

Colorado was a state and its founding fathers had seen fit to include provisions that made it clear that while the water belonged to all the people, the priority for its use belonged to those who were first in line to appropriate it. The year 1881 was also significant for Pueblo, already an established town on the banks of the Arkansas River. It was the year Colorado Fuel and Iron began rolling out steel rails, but also the beginning of establishing Pueblo as the

center of commerce in a valley whose prosperity hinged on agriculture.

But still, the native environment had, for the moment, survived the first onslaught of civilization. Irrigation canals began to be built in the early 1870s, replacing the earlier practice of simple diversions of the river into farms in the bottomlands. Claims to water were, by the 1880s, piling up on top of each other so quickly

- sometimes leading to violence, bloodshed and even death -- that the state created the office of state engineer in 1881 to enforce water rights. By the end of the 1880s, the Arkansas River in most years was fully appropriated, often overappropriated. The larger canals changed not only the economy and settlement of the valley,

but the landscape of Southeastern Colorado. The late Frank Milenski, a historian of Arkansas Valley water, in his book "Water: The Answer to a Valley's Prayer," quoted John Vroman, the first president of the Catlin Canal, when he retired in 1903: "When I first came to this country some 30 years ago, the general appearance of the landscape was all but inviting to prospective farmers, who now are located on beautiful homes. There was nothing but a vast expanse of hill and dale thickly covered with sagebrush and greasewood for habitation for the coyote, the rabbit and the rattlesnakes.

"Thus it has been for countless ages and thus it seemed doomed forever to remain and thus in fact it would have remained, but for the dauntless courage, foresight and of the few hearty pioneers who, realizing the enormous possibilities of the soil when plentifully supplied with water, began the building of canals to convey the water from the river to these lands." Next: Dreams of Prosperity

To see more of The Pueblo Chieftain, or to subscribe to the newspaper, go to http://www.chieftain.com.

Copyright (c) 2009, The Pueblo Chieftain, Colo.

Distributed by McClatchy-Tribune Information Services.

For reprints, email tmsreprints@permissionsgroup.com, call 800-374-7985 or 847-635-6550, send a fax to 847-635-6968, or write to The Permissions Group Inc., 1247 Milwaukee Ave., Suite 303, Glenview, IL 60025, USA.


Source Citation:"Civilization: Just add water: Without irrigation, Ark Valley would suffer from its nature." Pueblo Chieftain (Pueblo, Colorado) (March 8, 2009): NA. General OneFile. Gale. Columbia College Library (Chicago). 12 Mar. 2009
.
Gale Document Number:CJ195116245

Examples of American Culture Critiques

Title:No Apologies.(Society; RACE).
Author(s):Raina Kelley.
Source:Newsweek 153.10 (March 9, 2009): p54. (884 words)
Document Type:Magazine/Journal
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Full Text :COPYRIGHT 2009 Newsweek, Inc. All rights reserved. Any reuse, distribution or alteration without express written permission of Newsweek is prohibited. For permission: www.newsweek.com
Byline: Raina Kelley

We're all worried about seeming racist. Some advice: just relax.
Dear fellow journalists (especially the ones on TV): can I offer you a bit of unsolicited advice? Be brave. Listening to you talk (and talk and talk) around the subject of Barack Obama and race has been downright painful. Yes, our new president is black, and most of you are white, and judging by the way you excruciatingly measure every word you say about him, it's pretty clear that you are worried that you'll inadvertently say something insensitive and you'll wind up being accused of racism and it will ruin your career. I understand your fear. But seriously, it makes for some pretty painful watching.
An example: presidents dance at inaugural balls; that's what they do. Yes, it's a racial stereotype that all black people have rhythm. It is not racist to say that Barack and Michelle Obama looked good dancing together. Trust me on this.
I know there are plenty of Internet sheriffs trolling the airwaves for the next Imus-style outrage. Ignore them. Of course, if you send an e-mail cartoon depicting the front lawn of the White House as a watermelon patch, as the mayor of Los Alamitos, Calif., did last week, you're on your own. But there is simply nothing racist about saying that adorable little Sasha Obama is "sassy." The Huffington Post got clobbered for pointing out a "sassy" pair of sunglasses the president's daughter was sporting. You know, cute, sporty, fresh. If we're all sounding the alarm for that kind of thing, it's going to be a long four (possibly eight) years. I don't remember any indignation when the Huffington Post ran a story about Sarah Palin's daughter called "Piper's Sassiest Moments."
And I hate to pick on the company that pays my bills, but The Washington Post's preemptive act of contrition for using an illustration of a monkey for a humor column by Gene Weingarten about monkeys was completely nonsensical. What next, mea culpas on the op-ed page for thought crimes? Just because the New York Post got into hot water for an editorial cartoon depicting cops shooting a chimp identified as the writer of the stimulus plan does not mean that all pictures of monkeys "inadvertently -- conjure racial stereotypes," as The Washington Post wrote in its apology to readers. Will The Washington Post now forgo pictures of chickens and basketballs in case it brings to mind unbidden racial stereotypes?
This is what can be so unbelievably frustrating to African-Americans. We get apologies for things no reasonable person would be offended by, nonapology apologies when we are offended. (Really? Los Alamitos Mayor Dean Grouse didn't know black people were offended by watermelon jokes?) Meanwhile, nobody's having the kinds of discussions African-Americans would like to have--like whether increased diversity in the newsroom can prevent the negative racial stereotyping we saw during Hurricane Katrina, when black people were reported as "looting" while white people were said to be "foraging." Why can't we debate why, according to "The Black Image in the White Mind" written by Robert Entman and Andrew Rojecki, a mug shot of a black defendant is four times more likely to appear in a local television news report than one of a white defendant? No offense to MSNBC, but stories about white supremacists who are mad because the president is black don't contribute much to our national conversation about race other than "duh."
Attorney General Eric Holder got into trouble when he said that "we have always been and continue to be, in too many ways, essentially a nation of cowards -- We average Americans simply do not talk enough with each other about race." But he's right. We spend hours debating when we can say "monkey," but fall into awkward silence if substantive issues like affirmative action or crime rates in the inner city come up.
But perhaps cowardice is the only solution in a country where the definition of racism seems to change all the time. When Connecticut's first black female judge, E. Curtissa Cofield, called a black state trooper a "negro" after he arrested her for drunken driving in October of last year, the Hartford NAACP said her words were a satire, not racist. That's as lame an excuse as the watermelon defense. If you use language to make another person feel inferior based on the color of his skin, you're being racist. And no, it doesn't matter if you're black or white.
Seeing how our president has about a 70 percent approval rating, can we maybe, at this late date in our country's long and rocky racial history, allow ourselves a little sense of humor and some common sense when it comes to race? Jon Stewart didn't get fired when he asked Barack Obama if he planned to enslave white people. Why? Because he was obviously kidding. Context is key. I accuse my white husband of racism if he won't bring me a Diet Coke while I'm watching "Stealing Lincoln's Body"; no one takes offense. And my co-workers get that when I accuse them of racism for never giving their BlackBerrys a rest that I'm pulling their leg. Come to think of it, some of them get a little uncomfortable when I do that. I should never mention BlackBerrys again.

Source Citation:Kelley, Raina. "No Apologies.(Society; RACE)." Newsweek 153.10 (March 9, 2009): 54. General OneFile. Gale. Columbia College Library (Chicago). 12 Mar. 2009
.
Gale Document Number:A194827815

Wednesday, March 4, 2009

In-Text Citations

Don't forget to include in-text citations along with your works cited page. Your handbook is a good resource, as well as the websites below.

Incorporating Quotations and Other Writing Resources

OWL Guide to Writing, Including MLA Help

http://owl.english.purdue.edu/owl/resource/557/01/

REVISED rubric for essay #2

Essay #2: Rubric (100 points total)

1. Use of sound rhetorical strategies: 20 points
2. Successful incorporation of at least two sources: relevance, flow, purpose: 20 points
3. Audience awareness: voice, tone, assumptions, appeals: 20 points
4. Mechanical Errors: format, spelling, grammar, diction, syntax, punctuation, etc.: 20 points
5. Strong Introduction: 20 points

Letter Format (for those who couldn't open the page image)

Your Address

Date

Recipient's Address

Dear ,

akjfeklajithauhtk4jehrklawffffdfkasjfkajfkwjekjagkjwagk (imagine paragraph here)

akfjeklajkfljaekjtht;kaefwkajw (imagine paragraph here)

fkajfeklahtahgt;klaejgk;ejkrg;kaelgkllaj (imagine paragraph here)

Closing,

Signature


Your name

Tuesday, March 3, 2009

Essay #2-1st Draft (Letter)

130 Elmwood Avenue
Hanover, PA 17331

March 3, 2009

Scott Christie, P.E
District Executive, Pennsylvania Department of Transportation
2140 Herr StreetHarrisburg, PA 17103-1699

Mr. Scott Christie,

Have you ever found yourself driving down Mount Pleasant Road or Narrow Drive having to pull out into Hanover Pike (Route 194) in Mount Pleasant Township? If you have you know it is a disastrous, as well as frustrating intersection to try to get out of. There are blind spots from both directions due to houses surrounding the intersection by only a couple feet making this intersection hazardous for the many commuters who drive this route daily, to and from work. Every since Lovers Lane, connecting Route 194 to Narrow Drive was closed in April 2006, due to its needed $800,000 road repair. The road closing has forced all commuters who used to take this short cut to South Hanover to the intersection of Route 194 and Narrow Drive where it is hard to see.

There have been many press releases discussing the need to place a traffic light at the intersection in the Village of Mount Pleasant. According to an article in the Evening Sun on Sunday, February 28, 2009, the State of Transportation has still not given answers to why a traffic light has not been put up in the intersection with Hanover Pike, Narrow Drive, and Mount Pleasant Road. To push the approval of the traffic light by PennDOT, people even sent pictures and stories about bad accidents that have taken place on the frequently traveled route and have continued to ask questions without getting any feedback back from the Department of Transportation. Being an individual who has experienced traveling through the blind intersection, I think a traffic light is severely needed. The intersection is not just surrounded by homes close to the roadsides but by resident’s shrubberies in their landscapes.






­­Sincerely,




Amber Lescalleet
Student, Harrisburg Area Community College-Gettysburg

Letter Format

Below, is an example of proper letter format. Click on the image of the page to enlarge it. Let me know if this doesn't work for you, or if you have questions.

Letter Format

Power-Packed Introductions

Power-Packed Introductions

There are several ways to write a good introduction or opening to your paper.

Thesis Statement Opening
This is the traditional style of opening a paper. This is a "mini-summary" of your paper.

For example:
Gallaudet University, the only liberal arts college for deaf students in the world, is world-renowned in the field of deafness and education of the deaf. Gallaudet's charter was signed by President Abraham Lincoln. Gallaudet owes its rich history and fame to two men: Amos Kendall and Edward Miner Gallaudet.


Opening with a Story (Anecdote)
A good way of catching your reader's attention is by sharing a story that sets up your paper. Sharing a story gives a paper a more personal feel and helps make your reader comfortable.

This example was borrowed from Jack Gannon's The Week the World Heard Gallaudet (1989):
Astrid Goodstein, a Gallaudet faculty member, entered the beauty salon for her regular appointment proudly wearing her DPN button. ("I was married to that button that week!" she later confided.) When Sandy, her regular hairdresser, saw the button, he spoke and gestured, "Never! Never! Never!" Offended, Astrid turned around and headed for the door, but stopped short of leaving. She decided to keep her appointment, confessing later that at that moment her sense of principles had lost out to her vanity. Later she realized that her hairdresser had thought she was pushing for a deaf U.S. President.


Specific Detail Opening
Giving specific details about your subject appeals to your reader's curiosity and helps establish a visual picture of what your paper is about.

For example:
Hands flying, green eyes flashing, and spittle spraying Jenny howled at her younger sister Emma. People walk by gawking at the spectacle as Jenny's grunts emanate through the mall. Emma sucks at her thumb trying to appear nonchalant. Jenny's blond hair stands almost on end. Her hands seemed to fly so fast that her signs could barely be understood. Jenny was angry. Very angry.


Open with a Quotation
Another method of writing an introduction is to open with a quotation. This method makes your introduction more interactive and more appealing to your reader.

For example:
"Deaf people can do anything except hear," President I. King Jordan stated in his acceptance speech as thousands of deaf students and staff of Gallaudet University cheered. President Jordan's selection as the first deaf president of a university proved to be a monumental event for Gallaudet University and for deaf people all over the world.


Open with an Interesting Statistic
Statistics that grab the reader help to make an effective introduction.

For example:
American Sign Language is the second most preferred foreign language in the United States. 50% of all deaf and hard of hearing people use ASL. ASL is beginning to be provided under the Foreign Language Department in many universities and high schools around the nation.*
*The statistics are not accurate. They were invented as an example.


Question Openings
Possibly the easiest opening is one that presents one or more questions to be answered in the paper. This is effective because questions are usually what the reader has in mind when he or she sees your topic.

For example:
Is ASL a language? Can ASL be written? Do you have to be born deaf to understand ASL completely? To answer these questions, one must first understand exactly what ASL is. In this paper, I attempt to explain this as well as answer my own questions.


(The above examples come from English Works! http://depts.gallaudet.edu/englishworks/writing/introconslu.html)




More Introduction Examples


1. Introduction to the Foreword of Living Well With Chronic Fatigue Syndrome and Fibromyalgia, written by Mary J. Shomon:

Chronic fatigue syndrome and fibromyalgia unnecessarily cripple an estimated 6-12 million Americans. Characterized by exhaustion, "brain fog," insomnia, and, in those with fibromyalgia, widespread pain, these illnesses have been poorly understood by both the medical profession and patients. This has resulted in much unnecessary frustration and suffering.



2. Introduction to Thomas Paine's Common Sense

Some writers have so confounded society with government, as to leave little or no distinction between them; whereas they are not only different, but have different origins. Society is produced by our wants, and government by our wickedness; the former promotes our happiness positively by uniting our affections, the latter negatively by restraining our vices. The one encourages intercourse, the other creates distinctions. The first is a patron, the last a punisher.



3. Introduction of Wuthering Heights by Emily Bronte

1801.--I have just returned from a visit to my landlord--the solitary neighbour that I shall be troubled with. This is certainly a beautiful country! In all England, I do not believe that I could have fixed on a situation so completely removed from the stir of society. A perfect misanthropist's heaven--and Mr. Heathcliff and I are such a suitable pair to divide the desolation between us. A capital fellow! He little imagined how my heart warmed towards him when I beheld his black eyes withdraw so suspiciously under their brows, as I rode up, and when his fingers sheltered themselves, with a jealous resolution, still further in his waistcoat, as I announced my name.



4. Introduction to Forward of Real Sofistikashun: Essays on Poetry and Craft by Tony Hoagland

My friend Paul once said to me, "Scholars look things up; poets make things up." Though I would not justify ignorance in such a blithe, prideful way, there's something true and Emersonian about what he says, about finding out for yourself. This collection of essays about poetry, neither academic nor exactly for the reader off the street, is in fact a mostly homemade set of geographies, jerry-rigged descriptions, and taxonomies. They are intended for the reader who loves poems and likes to think about them. My hope is that these pieces show one person trying to think through certain topics, and that the step-by-step process of that thinking will be helpful to both readers and writers--in part because the essays are rudimentary, feeling their way. It's not the spirit of ignorance I feel loyal to, but the spirit of amateurism.



5. Introduction to "Jones Beach Reverie," by Whitney Scott, from South Loop Review

The smooth waters of Ellison Bay, Wisconsin, barely lap against this beach of rock, not sand, a rock beach formed by the repeated force of water against the cliff face. Eventually the limestone resistance crumbles so that chunks and boulders land haphazardly on top of each other to be broken down, pounded relentlessly by the surf.

Monday, March 2, 2009

Proposal Example

Proposal re: ATL comments section
Thursday, January 22, 2009 12:05 AM - By guest

Hello ATL Community,

I have become extremely frustrated by the comments lately and would like to propose an idea to remedy the situation.

Because of the vile, vulgur and racist comments frequently appearing on the site, it is becoming almost embarassing to admit that one even reads ATL at work.

ATL is a legal news/gossip blog. There is simply no reason to allow disgusting and racist comments about the editors that have absolute NOTHING to do with the law, nevermind the article in question.

My proposal- and I'm sure this would be easy to set up- is a community-moderated comment section. Set out some very basic ground rules and then put a little rad flag above every single comment. If enough members of the ATL community click on the red flag (because, e.g., the comment is racist or otherwise insulting and unrelated to the article) then the comment is automatically removed.

I think this would substantially elevate the quality of ATL and bring the site back to the days when there was no stigma attached to reading.

Just my two cents.

-NYC Associate

(http://abovethelaw.com/community/2009/01/proposal-re-atl-comments-secti.php)

Proposal Example

Dear Mayor Bloomberg:

We ask you to support BP Scott Stringer’s and other elected official’s proposal for a park and fewer sanitation facilities at Canal and Spring Streets in conjunction with the community’s AIA award winning and PlaNYC compatible green design for the southern terminus of the High Line, including a safe crossing to Pier 40. The residents, business and property owners in Hudson Square have made amazing investments in the community to create one of the most exciting neighborhoods in NYC.

According to Trinity Real Estate, “Hudson Square’s convenient location, vibrant atmosphere and intriguing mix of office buildings, restaurants, shops, galleries and new residential projects make it the ideal setting in which to invent, prosper — and replenish.”

We support best efforts to relocate the sanitation garages and salt shed from Gansevoort Peninsula to create a better Hudson River Park, but it has to be done inclusively and sensitively in the context of master planning for our neighborhood, not driven by a private settlement agreement which did not involve affected parties.

In 1999, the community and community boards worked out a consensus plan that was approved under ULURP for two garages with a park on top at 29th Street in Hudson Yards. HUDSON SQUARE DESERVES THE SAME. PLEASE WORK WITH US IN PLACEMAKING TO CREATE A DEFINING ASPECT OF THE WATERFRONT AND THE WEST SIDE FOR THE NEXT HUNDRED YEARS.


(http://www.savehudsonsquare.org/)

Tuesday, February 24, 2009

Poem About Smell of Manure

When Spring Visits


Winter has placed a tan tarp

on the cornfield, and the tractor's tires

stamp shapes into the damp ground.

The spreader, row by row

like incense, lays the sweet smell

horse manure until it covers the field

and comes inside, politely,

through the screen door.

Paper #1 - Very Late

In Usher's song Burn, he shows that sometimes the right thing to do is not always the easiest, nor is the right thing to do always what you want to do. Your emotions can make it hard to do what is right. They cause you to feel bad and be hesitant about doing what you truly think is best. Your emotions make you doubt yourself and in turn make you hold off on doing what you should be.
In the song, Usher feels that things between himself and his girl are coming to an end. He feels that they have been for awhile and that the best thing to do is to end things between the two of them. His emotions are making that hard for him to do. He explains that he still loves her, but he is hurt and unhappy. His emotions are telling him to work things out but his mind is telling him that things are not going to work. When Usher uses the work "burn" I believe he is referring to the pain he feels inside. He feels that the pain comes with making the decision and he needs to endure it and not let it cause him to run back to his girl. The line; "Deep down you know it's best for yourself but you hate the thought of her being with someone else," shows one of the reasons that he does not want to let her go. The he talks himself in to sticking to his guns by saying, "But you know that it's over, you know that it was through." He does go back and forth in the song about his feelings. The bridge in the song goes, "I'm twisted cause one side of me is tellin' me that I need to move on, On the other side I wanna break down and cry."
In the video, the director illustrates the frustration and struggle of the main character. It starts out with Usher alone in his house but flashes pictures of his ex-"shortie." While he explains why he needs to let her go the camera zooms out the show Usher sitting in front of a giant picture of his ex-girlfriend. The picture shows how significant that this person was in his life. Then the camera shows a close up of Usher's face with flames in his eyes when he explains how he must "let it burn." The flames show how Usher is feeling inside about the decision he is faced with. Usher is then seen looking out a window that overlooks a pool where he visualizes his ex jumping into to it. As she jumps into the pool it ignites into flames showing that she is the cause of his "burning" feeling inside. Next he begins to express how he cannot stop thinking about his ex even when he is with other women. The video flashes from images of him and the ex to him and a different woman. In the next scene the bed that he was in with both women bursts into flames. This shows that the memory of his ex in his bed is overpowering and he thinks of her even when he is with someone else. In the next scene, the director flashes back to the giant picture of Usher's ex-girlfriend but this time the picture is beginning to slowly burn. This image illustrates how the memories of her are slowly burning holes inside of him. Usher is then seen driving down the highway having flashbacks of his ex-girlfriend in his car with him. Then he thinks he sees her standing in the road and stops his car. When he gets out she is no longer there and the palm trees along the side of the road burst into flames. This further emphasizes the fact that almost everything about his everyday life causes him to think about her and feel the "burn" inside. The video then flashes back through all the previous scenes. Then Usher is taking small steps walking back towards his car which shows that he is slowly walking away from the situation.

Saturday, February 21, 2009

Essay #2

Essay #2: Proposal

For this essay, you will write a proposal to solve a community problem. It can be any problem, as long as it's local. This proposal will take the form of a one-page, single-spaced letter to the person answering for the problem: congressman, manager, mayor, etc. The document should be set up in standard letter format. You will back up your ideas with sound rhetoric and at least two outside sources. The second page of the essay will be a works cited page. Because you are only allowed one, single-spaced page, the challenge for this paper is to be convincing, but concise.



Essay #2: Rubric (100 points total)

1. Use of sound rhetorical strategies: 20 points
2. Successful incorporation of at least two sources: relevance, flow, purpose: 20 points
3. Conciseness/To the point: 20 points
4. Audience awareness: voice, tone, assumptions, appeals: 20 points
5. Mechanical Errors: format, spelling, grammar, diction, syntax, punctuation, etc.: 20 points



Essay #2: Calendar

2/24: Introduction to Essay #2

2/26: Introduction to Library- Brainstorm 3 possible topics, and bring them to class. Review pages 528-547 in preparation for the library.

3/3: Essay #2, Draft #1 due- For the first draft, I'd like you to explore 2 possible topics. Write at least a few paragraphs (1/2 page) for each topic.
Basically, begin the assignment, for two different topics, and see where it takes you. In class during small group workshop, you will determine which topic is best for your paper and how to develop it further. Read pages 352-363 and 364-366.

3/5: Essay #2, Draft #2 due- This draft should be almost full-length and include at least one source. I should see considerable development from the first draft. In class, we will go over MLA format and incorporation of sources. Read pages 327-345.

Spring Break: During Spring Break I will read your 2nd drafts and email you comments. Review pages 346-350.

3/17: Essay #2 final draft due

Thursday, February 12, 2009

Peer Review for Sidra "If I were a boy"

By: Laura Altman
Sidra wrote her essay on the song “If I were a boy” by Beyonce Knowles. Her thesis on what this song meant was “, Beyonce sings about the empathy she would have if she were a man. Because she knows the feelings described well, from direct experience, she would be able to know those feelings as a man and then be a "better man" from it. She would inherently know how to treat a woman if she were a man because she would know how she wants men to treat her. With this empathy, she would be a better man.” This song deals with all form of rhetoric, this song has more pathos than anything. It allows the listeners and viewers to relate with what she is talking about. There are many relationships out there that are or have been in that same situation. The argument in the video is that men have a special privilege giving them the ability to so whatever and not worrying about their other half. Being able to make up excuses for the phone being off; or going out any time to have a beer. The song makes it sound like all men are like that and the things she talks about is true but for only a majority. Beyonce says how that if she were a boy, she would treat them like they the way they want them to be treated.

Sidra did a good job in using examples, for every statement made she had an example to back it up. With those examples she compared it with the song and video. That made it more clear for me to understand. Such as; “She describes about how she could go out and cheat and have her male friends stick up for her and deny all rumors. She was saying in her song that she would turn her phone off, so she couldn’t be reached by her loved one. Males usually use an excuse when a woman can’t get a hold of them by their cell, they say it’s broken or they didn’t have reception. Men have the privilege to be able to turn off their phone and not care about missing calls. Well, that's the privilege Beyonce is trying to suggest that men have. In reality, men are slaves to their cell phones as much as women are.”, “The end of the song is saying you’re pretty much just like every other guy and won’t understand any of what she has to say about being a better man. She knows what it’s like to be mistreated in a relationship and she puts everything into it while the guy, just treats her as if she didn’t even exist.”,” At the end though she switched back to a women and you could tell she wasn’t happy with the things were going and that he will never understand the things he has put her through.” I think that Sidra did a great job at pointing out the main statements in the lyrics and how it was represented in the video. The only thing I would add is how in the beginning of the video Beyonce and her boyfriend in the video go back and forwards listing words. Such as; intimacy, honesty, and commitment then together they say “you, me” I think those words are the key of any relationship and by them both saying “you, Me” means it takes both partners to contribute.

Sidra’s analysis examples were great. She had a good thesis and how she interpreted the lyrics to the video. By watching the video you see how she acted as if she were the man in the relationship she would completely dismiss her partner and do what she wanted will her partner was at home safe and sound worrying about her. Then in the end it switch roles and now she was the one that was at home the whole time while it was really him going out and turning off his phone. She was put her in the place of his every day activity and then stated that if she were really a boy she would treat them how they want to be treated. Sidra looked at reality and stated that “I think the song may be a little sexist, because not every guy is out there being unfaithful and mistreating females. There are a lot of females out there doing the same thing as this male in the song. It is not always the male doing wrong in the relationship. This song may be a little misleading, but it usually is the male that messes up. In general this song is very symbolic and represents a lot of relationships around the world. The song has potential by changes the ways of a male, maybe if they care about their significant other enough they will realize how much they are hurting them and stop, but by the end of the song she sings “but your just a boy” so she’s say that you won’t every understand how it feels to be treated like this day after day.”

The one thing from the essay and in the video/ lyrics is definitely how in the end Beyonce is answering to her boyfriend and then the rolls change and the boyfriend is the answering to her asking “Why are you so jealous? Its not like im sleeping with the girl” Beyonce then blames the fact that he doesn’t understand because he is “just a boy”. It stands out because when they switch rolls you realize she wasnt just imitating what she thinks a guy does she took on the roll of her boyfriend. Then when they switched he didnt care how she felt, and she blames it on him being a boy as if it is the typical guy and so she puts up with it and doesnt want to let go.