The Pets we Love--and Drug
BY: Matthew Philips
Fluffy is getting old. Going on 13, she's geriatric for a Rottweiler. And like many people past retirement age, she takes a lot of pills—steroids for her bad hips and pinched nerve, a chewable tablet for her underactive thyroid, even Benadryl for her allergies. Her owner, Kelly Dowd, is happy to pay the $75 monthly. But to date, there has been no pill to treat Fluffy's most serious ailment—at 110 pounds, she's 25 pounds overweight, borderline obese.
Next month this will change when Slentrol, the first diet drug for dogs, hits the market. Developed by Pfizer and approved by the Food and Drug Administration late last year, Slentrol suppresses a dog's appetite and limits fat absorption. Although Dowd says she'll try to cut the amount of food Fluffy eats before resorting to drugs, at a cost of nearly $2 a day Pfizer believes the owners of at least 17 million dogs will be willing to try Slentrol. That could be a conservative bet: about one third of the 74 million dogs in the United States are overweight (5 percent are obese). And, increasingly, Americans are willing to open their wallets for Fluffy and friends, spending nearly $40 billion on their pets last year, double what they did in 1994.
Perhaps that's because pets have become more prominent members of the family. "We've shown an increasing willingness to spend money on our pets as they've become a bigger part of our lives," says Bob Vetere, president of the American Pet Products Manufacturers Association. This is partly because a decade ago, most pet owners were parents, but now more are owned by people with no children at all—empty nesters, gay couples and single adults. In many households, pets aren't just presents for children—they are surrogate children. "Two thirds of homes in the U.S. have a pet," says Vetere. "Twice as many [as those] with children."
Whether we worry that our pets are eating tainted, potentially lethal food—or that they're simply eating too much—we've made pet health a priority. In 2006, 77 percent of dogs were given medication, compared with 52 percent in 2004. According to APPMA, spending on pets' surgical procedures and dental care—including floss and teeth whiteners—has also risen. Pet products now make up more than half an animal-health market once dominated by products for livestock, fueling what in 2005 was a $5 billion industry. "The companion-animal sector has snowballed into this unstoppable force," says Richard Daub, who covers the industry for the trade publication Animal Pharm.
Not surprisingly, some of the world's largest drugmakers are pouring resources into their animal-health divisions in hopes of capitalizing on this emerging market. The FDA has approved more than two dozen new drugs for pets since 2002 alone. Along with Slentrol, Pfizer has a drug to treat motion sickness in dogs that's due out in August. Eli Lilly just launched a new companion-animal division, and plans to develop six drugs in the next four years, in part by reconstituting drugs developed for humans, targeting not physical but psychological ailments. Lilly's new flagship pet medication, Reconcile, approved by the FDA in January to treat separation anxiety in dogs, is the same compound as its antidepressant Prozac. "The cost of developing a new drug is so high, they're crazy not to reuse molecules developed for humans," says Nick Dodman, director of the Animal Behavior Clinic at the Tufts Cummings School of Veterinary Medicine. Based on research done by Dodman, a British firm, Accura Pharma, recently bought a patent to develop the first antiaggression drug for dogs.
Some pet owners say medication has improved their pets' lives dramatically. Mark Musin of San Francisco gives his Jack Russell, Murphy, Prozac to keep him from fixating on reflections and shadows. "Without it, he obsesses over them," Musin says.
But others see pet drugs as a quick fix that fail to address the root of a bigger problem. Pets are often cooped up indoors and left alone for much of the day, under-exercised and overfed—is it any wonder they're aggressive, anxiety-ridden and fat? "We're absolutely projecting our neuroses and bad habits onto our pets," says Dr. J. P. O'Leary, a veterinarian outside Pittsburgh who says that of the 400 animals he sees a week, half are obese and many have behavioral issues. Rather than spending the time and energy working with their pets to correct them, though, "people would rather throw a pill at it," he says. O'Leary hesitates when asked if he plans to prescribe Slentrol to clients with overweight dogs. "Only as a last resort," he says. "The problem can be solved by regulating their food and getting more exercise." That's advice plenty of humans could use, too.
Wednesday, March 28, 2012
Monday, March 26, 2012
Works Cited Page
The best resource for MLA is the O.W.L. Purdue site at:
http://owl.english.purdue.edu/owl/search.php
Works Cited Page
According to MLA style, you must have a Works Cited page at the end of your research paper. All entries in the Works Cited page must correspond to the works cited in your main text.
Basic Rules
• Begin your Works Cited page on a separate page at the end of your research paper. It should have the same one-inch margins and last name, page number header as the rest of your paper.
• Label the page Works Cited (do not italicize the words Works Cited or put them in quotation marks) and center the words Works Cited at the top of the page.
• Double space all citations, but do not skip spaces between entries.
• Indent the second and subsequent lines of citations five spaces so that you create a hanging indent.
• List page numbers of sources efficiently, when needed. If you refer to a journal article that appeared on pages 225 through 250, list the page numbers on your Works Cited page as 225-50.
Additional Basic Rules New to MLA 2009
For every entry, you must determine the Medium of Publication. Most entries will likely be listed as Print or Web sources, but other possibilities may include Film, CD-ROM, or DVD.
Writers are no longer required to provide URLs for Web entries. However, if your instructor or publisher insists on them, include them in angle brackets after the entry and end with a period. For long URLs, break lines only at slashes.
If you're citing an article or a publication that was originally issued in print form but that you retrieved from an online database, you should type the online database name in italics. You do not need to provide subscription information in addition to the database name.
Capitalization and Punctuation
Capitalize each word in the titles of articles, books, etc, but do not capitalize articles (the, an), prepositions, or conjunctions unless one is the first word of the title or subtitle: Gone with the Wind, The Art of War, There Is Nothing Left to Lose.
New to MLA 2009: Use italics (instead of underlining) for titles of larger works (books, magazines) and quotation marks for titles of shorter works (poems, articles)
Listing Author Names
Entries are listed alphabetically by the author's last name (or, for entire edited collections, editor names). Author names are written last name first; middle names or middle initials follow the first name:
• Burke, Kenneth
• Levy, David M.
• Wallace, David Foster
Do not list titles (Dr., Sir, Saint, etc.) or degrees (PhD, MA, DDS, etc.) with names. A book listing an author named "John Bigbrain, PhD" appears simply as "Bigbrain, John"; do, however, include suffixes like "Jr." or "II." Putting it all together, a work by Dr. Martin Luther King, Jr. would be cited as "King, Martin Luther, Jr.," with the suffix following the first or middle name and a comma.
MLA lists electronic sources as Web Publications. Thus, when including the medium of publication for electronic sources, list the medium as Web.
It is always a good idea to maintain personal copies of electronic information, when possible. It is good practice to print or save Web pages or, better, using a program like Adobe Acrobat, to keep your own copies for future reference. Most Web browsers will include URL/electronic address information when you print, which makes later reference easy. Also, you might use the Bookmark function in your Web browser in order to return to documents more easily.
Important Note on the Use of URLs in MLA
MLA no longer requires the use of URLs in MLA citations. Because Web addresses are not static (i.e., they change often) and because documents sometimes appear in multiple places on the Web (e.g., on multiple databases), MLA explains that most readers can find electronic sources via title or author searches in Internet Search Engines.
For instructors or editors that still wish to require the use of URLs, MLA suggests that the URL appear in angle brackets after the date of access. Break URLs only after slashes.
Aristotle. Poetics. Trans. S. H. Butcher. The Internet Classics Archive. Web Atomic and Massachusetts Institute of Technology, 13 Sept. 2007. Web. 4 Nov. 2008. ‹http://classics.mit.edu/›.
Abbreviations Commonly Used with Electronic Sources
If publishing information is unavailable for entries that require publication information such as publisher (or sponsor) names and publishing dates, MLA requires the use of special abbreviations to indicate that this information is not available. Use n.p. to indicate that neither a publisher nor a sponsor name has been provided. Use n.d. when the Web page does not provide a publication date.
When an entry requires that you provide a page but no pages are provided in the source (as in the case of an online-only scholarly journal or a work that appears in an online-only anthology), use the abbreviation n. pag.
Basic Style for Citations of Electronic Sources (Including Online Databases)
Here are some common features you should try and find before citing electronic sources in MLA style. Not every Web page will provide all of the following information. However, collect as much of the following information as possible both for your citations and for your research notes:
• Author and/or editor names (if available)
• Article name in quotation marks (if applicable)
• Title of the Website, project, or book in italics. (Remember that some Print publications have Web publications with slightly different names. They may, for example, include the additional information or otherwise modified information, like domain names [e.g. .com or .net].)
• Any version numbers available, including revisions, posting dates, volumes, or issue numbers.
• Publisher information, including the publisher name and publishing date.
• Take note of any page numbers (if available).
• Date you accessed the material.
• Medium of publication.
• URL (if required, or for your own personal reference).
Citing an Entire Web Site
It is necessary to list your date of access because web postings are often updated, and information available on one date may no longer be available later. Be sure to include the complete address for the site.
Remember to use n.p. if no publisher name is available and n.d. if no publishing date is given.
Editor, author, or compiler name (if available). Name of Site. Version number. Name of institution/organization affiliated with the site (sponsor or publisher), date of resource creation (if available). Medium of publication. Date of access.
The Purdue OWL Family of Sites. The Writing Lab and OWL at Purdue and Purdue U, 2008. Web. 23 Apr. 2008.
Felluga, Dino. Guide to Literary and Critical Theory. Purdue U, 28 Nov. 2003. Web. 10 May 2006.
Course or Department Websites
Give the instructor name. Then list the title of the course (or the school catalog designation for the course) in italics. Give appropriate department and school names as well, following the course title. Remember to use n.d. if no publishing date is given.
Felluga, Dino. Survey of the Literature of England. Purdue U, Aug. 2006. Web. 31 May 2007.
English Department. Purdue U, 20 Apr. 2009. Web. 14 May 2009.
A Page on a Web Site
For an individual page on a Web site, list the author or alias if known, followed by the information covered above for entire Web sites. Remember to use n.p. if no publisher name is available and n.d. if no publishing date is given.
"How to Make Vegetarian Chili." eHow.com. eHow, n.d. Web. 24 Feb. 2009.
An Image (Including a Painting, Sculpture, or Photograph)
Provide the artist's name, the work of art italicized, the date of creation, the institution and city where the work is housed. Follow this initial entry with the name of the Website in italics, the medium of publication, and the date of access.
Goya, Francisco. The Family of Charles IV. 1800. Museo Nacional del Prado, Madrid. Museo National del Prado. Web. 22 May 2006.
Klee, Paul. Twittering Machine. 1922. Museum of Modern Art, New York. The Artchive. Web. 22 May 2006.
If the work is cited on the web only, then provide the name of the artist, the title of the work, the medium of the work, and then follow the citation format for a website. If the work is posted via a username, use that username for the author.
brandychloe. "Great Horned Owl Family." Photograph. Webshots. American Greetings, 22 May 2006. Web. 5 Nov. 2009.
An Article from an Online Database (or Other Electronic Subscription Service)
Cite articles from online databases (e.g. LexisNexis, ProQuest, JSTOR, ScienceDirect) and other subscription services just as you would print sources. Since these articles usually come from periodicals, be sure to consult the appropriate sections of the Works Cited: Periodicals page, which you can access via its link at the bottom of this page. In addition to this information, provide the title of the database italicized, the medium of publication, and the date of access.
Note: Previous editions of the MLA Style Manual required information about the subscribing institution (name and location). This information is no longer required by MLA.
Junge, Wolfgang, and Nathan Nelson. “Nature's Rotary Electromotors.” Science 29 Apr. 2005: 642-44. Science Online. Web. 5 Mar. 2009.
Langhamer, Claire. “Love and Courtship in Mid-Twentieth-Century England.” Historical Journal 50.1 (2007): 173-96. ProQuest. Web. 27 May 2009.
http://owl.english.purdue.edu/owl/search.php
Works Cited Page
According to MLA style, you must have a Works Cited page at the end of your research paper. All entries in the Works Cited page must correspond to the works cited in your main text.
Basic Rules
• Begin your Works Cited page on a separate page at the end of your research paper. It should have the same one-inch margins and last name, page number header as the rest of your paper.
• Label the page Works Cited (do not italicize the words Works Cited or put them in quotation marks) and center the words Works Cited at the top of the page.
• Double space all citations, but do not skip spaces between entries.
• Indent the second and subsequent lines of citations five spaces so that you create a hanging indent.
• List page numbers of sources efficiently, when needed. If you refer to a journal article that appeared on pages 225 through 250, list the page numbers on your Works Cited page as 225-50.
Additional Basic Rules New to MLA 2009
For every entry, you must determine the Medium of Publication. Most entries will likely be listed as Print or Web sources, but other possibilities may include Film, CD-ROM, or DVD.
Writers are no longer required to provide URLs for Web entries. However, if your instructor or publisher insists on them, include them in angle brackets after the entry and end with a period. For long URLs, break lines only at slashes.
If you're citing an article or a publication that was originally issued in print form but that you retrieved from an online database, you should type the online database name in italics. You do not need to provide subscription information in addition to the database name.
Capitalization and Punctuation
Capitalize each word in the titles of articles, books, etc, but do not capitalize articles (the, an), prepositions, or conjunctions unless one is the first word of the title or subtitle: Gone with the Wind, The Art of War, There Is Nothing Left to Lose.
New to MLA 2009: Use italics (instead of underlining) for titles of larger works (books, magazines) and quotation marks for titles of shorter works (poems, articles)
Listing Author Names
Entries are listed alphabetically by the author's last name (or, for entire edited collections, editor names). Author names are written last name first; middle names or middle initials follow the first name:
• Burke, Kenneth
• Levy, David M.
• Wallace, David Foster
Do not list titles (Dr., Sir, Saint, etc.) or degrees (PhD, MA, DDS, etc.) with names. A book listing an author named "John Bigbrain, PhD" appears simply as "Bigbrain, John"; do, however, include suffixes like "Jr." or "II." Putting it all together, a work by Dr. Martin Luther King, Jr. would be cited as "King, Martin Luther, Jr.," with the suffix following the first or middle name and a comma.
MLA lists electronic sources as Web Publications. Thus, when including the medium of publication for electronic sources, list the medium as Web.
It is always a good idea to maintain personal copies of electronic information, when possible. It is good practice to print or save Web pages or, better, using a program like Adobe Acrobat, to keep your own copies for future reference. Most Web browsers will include URL/electronic address information when you print, which makes later reference easy. Also, you might use the Bookmark function in your Web browser in order to return to documents more easily.
Important Note on the Use of URLs in MLA
MLA no longer requires the use of URLs in MLA citations. Because Web addresses are not static (i.e., they change often) and because documents sometimes appear in multiple places on the Web (e.g., on multiple databases), MLA explains that most readers can find electronic sources via title or author searches in Internet Search Engines.
For instructors or editors that still wish to require the use of URLs, MLA suggests that the URL appear in angle brackets after the date of access. Break URLs only after slashes.
Aristotle. Poetics. Trans. S. H. Butcher. The Internet Classics Archive. Web Atomic and Massachusetts Institute of Technology, 13 Sept. 2007. Web. 4 Nov. 2008. ‹http://classics.mit.edu/›.
Abbreviations Commonly Used with Electronic Sources
If publishing information is unavailable for entries that require publication information such as publisher (or sponsor) names and publishing dates, MLA requires the use of special abbreviations to indicate that this information is not available. Use n.p. to indicate that neither a publisher nor a sponsor name has been provided. Use n.d. when the Web page does not provide a publication date.
When an entry requires that you provide a page but no pages are provided in the source (as in the case of an online-only scholarly journal or a work that appears in an online-only anthology), use the abbreviation n. pag.
Basic Style for Citations of Electronic Sources (Including Online Databases)
Here are some common features you should try and find before citing electronic sources in MLA style. Not every Web page will provide all of the following information. However, collect as much of the following information as possible both for your citations and for your research notes:
• Author and/or editor names (if available)
• Article name in quotation marks (if applicable)
• Title of the Website, project, or book in italics. (Remember that some Print publications have Web publications with slightly different names. They may, for example, include the additional information or otherwise modified information, like domain names [e.g. .com or .net].)
• Any version numbers available, including revisions, posting dates, volumes, or issue numbers.
• Publisher information, including the publisher name and publishing date.
• Take note of any page numbers (if available).
• Date you accessed the material.
• Medium of publication.
• URL (if required, or for your own personal reference).
Citing an Entire Web Site
It is necessary to list your date of access because web postings are often updated, and information available on one date may no longer be available later. Be sure to include the complete address for the site.
Remember to use n.p. if no publisher name is available and n.d. if no publishing date is given.
Editor, author, or compiler name (if available). Name of Site. Version number. Name of institution/organization affiliated with the site (sponsor or publisher), date of resource creation (if available). Medium of publication. Date of access.
The Purdue OWL Family of Sites. The Writing Lab and OWL at Purdue and Purdue U, 2008. Web. 23 Apr. 2008.
Felluga, Dino. Guide to Literary and Critical Theory. Purdue U, 28 Nov. 2003. Web. 10 May 2006.
Course or Department Websites
Give the instructor name. Then list the title of the course (or the school catalog designation for the course) in italics. Give appropriate department and school names as well, following the course title. Remember to use n.d. if no publishing date is given.
Felluga, Dino. Survey of the Literature of England. Purdue U, Aug. 2006. Web. 31 May 2007.
English Department. Purdue U, 20 Apr. 2009. Web. 14 May 2009.
A Page on a Web Site
For an individual page on a Web site, list the author or alias if known, followed by the information covered above for entire Web sites. Remember to use n.p. if no publisher name is available and n.d. if no publishing date is given.
"How to Make Vegetarian Chili." eHow.com. eHow, n.d. Web. 24 Feb. 2009.
An Image (Including a Painting, Sculpture, or Photograph)
Provide the artist's name, the work of art italicized, the date of creation, the institution and city where the work is housed. Follow this initial entry with the name of the Website in italics, the medium of publication, and the date of access.
Goya, Francisco. The Family of Charles IV. 1800. Museo Nacional del Prado, Madrid. Museo National del Prado. Web. 22 May 2006.
Klee, Paul. Twittering Machine. 1922. Museum of Modern Art, New York. The Artchive. Web. 22 May 2006.
If the work is cited on the web only, then provide the name of the artist, the title of the work, the medium of the work, and then follow the citation format for a website. If the work is posted via a username, use that username for the author.
brandychloe. "Great Horned Owl Family." Photograph. Webshots. American Greetings, 22 May 2006. Web. 5 Nov. 2009.
An Article from an Online Database (or Other Electronic Subscription Service)
Cite articles from online databases (e.g. LexisNexis, ProQuest, JSTOR, ScienceDirect) and other subscription services just as you would print sources. Since these articles usually come from periodicals, be sure to consult the appropriate sections of the Works Cited: Periodicals page, which you can access via its link at the bottom of this page. In addition to this information, provide the title of the database italicized, the medium of publication, and the date of access.
Note: Previous editions of the MLA Style Manual required information about the subscribing institution (name and location). This information is no longer required by MLA.
Junge, Wolfgang, and Nathan Nelson. “Nature's Rotary Electromotors.” Science 29 Apr. 2005: 642-44. Science Online. Web. 5 Mar. 2009.
Langhamer, Claire. “Love and Courtship in Mid-Twentieth-Century England.” Historical Journal 50.1 (2007): 173-96. ProQuest. Web. 27 May 2009.
"Bernice Bobs Her Hair"
Watch the video "Bernice Bobs Her Hair." Answer the following questions. If you don't have access to the video, read the short story by F. Scott Fitzgerald.
Name__________________________________Date____________________Period______
“Bernice Bobs Her Hair”
1. What do the older ladies criticize in the behavior of the young?
2. What are the rules of “cutting-in?”
3. Why is the fact that Bernice danced for an hour with Otis prove that she was “unpopular?”
4. Why was Bernice a disappointment to Marjorie and Marjorie a disappointment to Bernice?
5. What advice does Marjorie give Bernice about her (a) eyebrows, (b) hair, (c) teeth, (d) the way she dances, (e) the way she behaves towards the less popular boys?
(a)
(b)
(c)
(d)
(e)
6. What are the reactions and attitudes of the following people when Bernice decides to and does bob her hair:
a. The Barber
b. The other barbers
c. Marjorie
d. Warren
e. Marjorie’s Mother
f. Mrs. Deyo
7. At the beginning Fitzgerald comments, “The world of the young is sometimes cruel.” In what ways are the following young characters cruel to each other:
(a) Marjorie
(b) Warren
(c) Bernice
Bernice Bobs Her Hair
Before the movie:
I. Look at the title.
a. Can you guess what the plot of this movie will be?
___________________________________________________________________
b. Write down three things that you already know about this movie.
1. _________________________________________________________________
2. _________________________________________________________________
3. _________________________________________________________________
c. Write down three things that you would like to know about this movie.
1. ________________________________________________________________
2. ________________________________________________________________
3. ________________________________________________________________
DURING THE MOVIE
As you watch, take notes on any important information.
Name__________________________________Date____________________Period______
“Bernice Bobs Her Hair”
1. What do the older ladies criticize in the behavior of the young?
2. What are the rules of “cutting-in?”
3. Why is the fact that Bernice danced for an hour with Otis prove that she was “unpopular?”
4. Why was Bernice a disappointment to Marjorie and Marjorie a disappointment to Bernice?
5. What advice does Marjorie give Bernice about her (a) eyebrows, (b) hair, (c) teeth, (d) the way she dances, (e) the way she behaves towards the less popular boys?
(a)
(b)
(c)
(d)
(e)
6. What are the reactions and attitudes of the following people when Bernice decides to and does bob her hair:
a. The Barber
b. The other barbers
c. Marjorie
d. Warren
e. Marjorie’s Mother
f. Mrs. Deyo
7. At the beginning Fitzgerald comments, “The world of the young is sometimes cruel.” In what ways are the following young characters cruel to each other:
(a) Marjorie
(b) Warren
(c) Bernice
Bernice Bobs Her Hair
Before the movie:
I. Look at the title.
a. Can you guess what the plot of this movie will be?
___________________________________________________________________
b. Write down three things that you already know about this movie.
1. _________________________________________________________________
2. _________________________________________________________________
3. _________________________________________________________________
c. Write down three things that you would like to know about this movie.
1. ________________________________________________________________
2. ________________________________________________________________
3. ________________________________________________________________
DURING THE MOVIE
As you watch, take notes on any important information.
Monday, March 12, 2012
Crucible Act 1 CD/Commentary Practice
Name_______________________________Date______________Period____________________
In place of a reading quiz, complete the following for Act I.
The Crucible Act I
Concrete Detail/Commentary Practice
Arrange these topics into three columns.
1st Column: Topic (see below for the topics)
2nd Column: CD (include page number)
3rd Column: Commentary (interpretation or explanation of the CD)
For each of the below topics, find a CD and write commentary for it.
*The idea of name and reputation
*The idea of authority
*Truth and deceitfulness
*Criticism of the institution of religion
In place of a reading quiz, complete the following for Act I.
The Crucible Act I
Concrete Detail/Commentary Practice
Arrange these topics into three columns.
1st Column: Topic (see below for the topics)
2nd Column: CD (include page number)
3rd Column: Commentary (interpretation or explanation of the CD)
For each of the below topics, find a CD and write commentary for it.
*The idea of name and reputation
*The idea of authority
*Truth and deceitfulness
*Criticism of the institution of religion
"I Have a Dream" Text
“I Have a Dream” Martin Luther King, Jr.
I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.
Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.
But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize a shameful condition.
In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men, yes, black men as well as white men, would be guaranteed the unalienable rights of life, liberty, and the pursuit of happiness.
It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked "insufficient funds." But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check — a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quick sands of racial injustice to the solid rock of brotherhood. Now is the time to make justice a reality for all of God's children.
It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.
But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.
We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny and their freedom is inextricably bound to our freedom. We cannot walk alone.
As we walk, we must make the pledge that we shall march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, "When will you be satisfied?" We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied, as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We can never be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.
I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive.
Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.
I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.
I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal."
I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.
I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.
I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.
I have a dream today.
I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.
I have a dream today.
I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.
This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.
This will be the day when all of God's children will be able to sing with a new meaning, "My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring."
And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!
Let freedom ring from the snowcapped Rockies of Colorado!
Let freedom ring from the curvaceous slopes of California!
But not only that; let freedom ring from Stone Mountain of Georgia!
Let freedom ring from Lookout Mountain of Tennessee!
Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring.
And when this happens, When we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, "Free at last! free at last! thank God Almighty, we are free at last!"
I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.
Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.
But one hundred years later, the Negro still is not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize a shameful condition.
In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men, yes, black men as well as white men, would be guaranteed the unalienable rights of life, liberty, and the pursuit of happiness.
It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked "insufficient funds." But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check — a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the quick sands of racial injustice to the solid rock of brotherhood. Now is the time to make justice a reality for all of God's children.
It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.
But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.
We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny and their freedom is inextricably bound to our freedom. We cannot walk alone.
As we walk, we must make the pledge that we shall march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, "When will you be satisfied?" We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied, as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We can never be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.
I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive.
Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.
I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.
I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal."
I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.
I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.
I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.
I have a dream today.
I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.
I have a dream today.
I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.
This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.
This will be the day when all of God's children will be able to sing with a new meaning, "My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring."
And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!
Let freedom ring from the snowcapped Rockies of Colorado!
Let freedom ring from the curvaceous slopes of California!
But not only that; let freedom ring from Stone Mountain of Georgia!
Let freedom ring from Lookout Mountain of Tennessee!
Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring.
And when this happens, When we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, "Free at last! free at last! thank God Almighty, we are free at last!"
"I Have a Dream" Rhetorical Strategies
Name_____________________________Period_______________Date______________
“I Have a Dream” Martin Luther King, Jr.
Rhetorical Structure: Figures of Speech
Certain rhetorical devices called figures of speech (similes, metaphors, allusions, alliteration, etc.) are used in both poetry and prose to make ideas more memorable and forceful. For centuries speakers and writers have known that such well said devices affect listeners and readers in powerful ways.
1. Define each of the following:
Alliteration
Allusion
Metaphor
Simile
Ethos
Pathos
Logos
2. "Five score years ago," the opening phrase of King's speech, is an allusion to what or whom? Why is this an appropriate and strong way for King to begin his speech?
3. King's speech contains other allusions in addition to the one with which he opens his speech. Find an allusion to the Declaration of Independence and the Bible.
4. Find an example of alliteration in King's speech.
5. Find an example of a metaphor.
6. Find an example of a simile.
7. In the second paragraph, King says that "the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination."
o What type of figure of speech is this?
o These words bring up strong images of slavery. Why would this be an effective method of moving his audience?
o What inference was King making about the progress of African Americans to enter the mainstream of American life in the one hundred years which followed the end of slavery?
8. Another rhetorical strategy is the repetition of a word or phrase at the beginning of a sentence, verse, or paragraph. Besides the famous "I have a dream" phrase, find two other examples of repetition.
9. List at least two possible effects upon King's audience of repeating the phrase, "I have a dream."
10. Nearly every line of King's speech is filled with powerful images, or "mental pictures," many created by using figures of speech. Images help audiences to feel what speakers/writers want them to feel, help them remember what they have read or heard, and help them understand difficult material. Write a well-developed paragraph telling which of King's images you find most powerful and appealing and explain why this image had meaning for you.
“I Have a Dream” Martin Luther King, Jr.
Rhetorical Structure: Figures of Speech
Certain rhetorical devices called figures of speech (similes, metaphors, allusions, alliteration, etc.) are used in both poetry and prose to make ideas more memorable and forceful. For centuries speakers and writers have known that such well said devices affect listeners and readers in powerful ways.
1. Define each of the following:
Alliteration
Allusion
Metaphor
Simile
Ethos
Pathos
Logos
2. "Five score years ago," the opening phrase of King's speech, is an allusion to what or whom? Why is this an appropriate and strong way for King to begin his speech?
3. King's speech contains other allusions in addition to the one with which he opens his speech. Find an allusion to the Declaration of Independence and the Bible.
4. Find an example of alliteration in King's speech.
5. Find an example of a metaphor.
6. Find an example of a simile.
7. In the second paragraph, King says that "the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination."
o What type of figure of speech is this?
o These words bring up strong images of slavery. Why would this be an effective method of moving his audience?
o What inference was King making about the progress of African Americans to enter the mainstream of American life in the one hundred years which followed the end of slavery?
8. Another rhetorical strategy is the repetition of a word or phrase at the beginning of a sentence, verse, or paragraph. Besides the famous "I have a dream" phrase, find two other examples of repetition.
9. List at least two possible effects upon King's audience of repeating the phrase, "I have a dream."
10. Nearly every line of King's speech is filled with powerful images, or "mental pictures," many created by using figures of speech. Images help audiences to feel what speakers/writers want them to feel, help them remember what they have read or heard, and help them understand difficult material. Write a well-developed paragraph telling which of King's images you find most powerful and appealing and explain why this image had meaning for you.
"I Have a Dream" Argumentative Essay
Name__________________________________________Date___________________Period___________________
“I Have a Dream”
Watch Martin Luther King’s “I Have a Dream” speech. Break it down as an argumentative essay.
In an argumentative essay, information is given (thesis statement) that is supported with outside sources. It also includes counter arguments and refutations (opposing ideas). The thesis should be very clear on what position is taken ( to persuade people to adopt new beliefs or behavior).
Elements of an Argumentative Essay:
• it should contain an argument
• it should be a topic that can be adequately supported (with statistics, outside source citations, etc.)
• it should contain at least one counter-argument and refutation
Rhetorical elements:
• ethos: ethics of speaker (how believable/reliable is this speaker?)
• pathos: emotion (anger, frustration, sadness, fear, etc.)
• logos: logic (reputable outside sources—studies, facts, surveys, etc.)
Carefully read through “I Have a Dream” and identify the following with a concrete detail. Remember to include page numbers and quotation marks. (This should be in columns, but Blogspot doesn't do that, for whatever reason!)
Column 1:Element
Column 2: CD (include quotation marks and page number)
Column 3: Is this effective? Why or why not?
Find an example of the elements below and respond with a CD and an explanation for each.
Argument (thesis statement. May be directly stated or implied)
Topic Support (outside sources, examples—NOT feelings)
Counter Argument
Refutation
Ethos
Pathos
Logos
“I Have a Dream”
Watch Martin Luther King’s “I Have a Dream” speech. Break it down as an argumentative essay.
In an argumentative essay, information is given (thesis statement) that is supported with outside sources. It also includes counter arguments and refutations (opposing ideas). The thesis should be very clear on what position is taken ( to persuade people to adopt new beliefs or behavior).
Elements of an Argumentative Essay:
• it should contain an argument
• it should be a topic that can be adequately supported (with statistics, outside source citations, etc.)
• it should contain at least one counter-argument and refutation
Rhetorical elements:
• ethos: ethics of speaker (how believable/reliable is this speaker?)
• pathos: emotion (anger, frustration, sadness, fear, etc.)
• logos: logic (reputable outside sources—studies, facts, surveys, etc.)
Carefully read through “I Have a Dream” and identify the following with a concrete detail. Remember to include page numbers and quotation marks. (This should be in columns, but Blogspot doesn't do that, for whatever reason!)
Column 1:Element
Column 2: CD (include quotation marks and page number)
Column 3: Is this effective? Why or why not?
Find an example of the elements below and respond with a CD and an explanation for each.
Argument (thesis statement. May be directly stated or implied)
Topic Support (outside sources, examples—NOT feelings)
Counter Argument
Refutation
Ethos
Pathos
Logos
"Sinners" Critical Questions
Name_______________________________________________Date___________________Period_____Critical Questions for ‘Sinners in the Hands of an Angry God’:
Part I: Getting Started - Initial Impressions
1. What was stirring, striking, or memorable to you in reading this sermon?
Part II: “O sinner, consider the fearful danger you are in!”
1. What images or analogies does Jonathan Edwards use to evoke the situation of the unconverted? (What does it mean to be unconverted?)
2. What are the most prominent themes communicated by these images?
3. How are listeners meant to feel?
4. Come up with another image (not included in the text) that conveys a predicament similar to the plight of the sinner that Edwards speaks of.
5. Consider the imagery of suspension that occurs throughout the sermon. What images are used? Are they effective? Why or why not?
Part IV: Thinking about how the sermon works
1. How does this sermon work? What makes/made it effective?
2. What are Edwards’ sources of authority or credibility? How does he elicit a response from his listeners?
Part I: Getting Started - Initial Impressions
1. What was stirring, striking, or memorable to you in reading this sermon?
Part II: “O sinner, consider the fearful danger you are in!”
1. What images or analogies does Jonathan Edwards use to evoke the situation of the unconverted? (What does it mean to be unconverted?)
2. What are the most prominent themes communicated by these images?
3. How are listeners meant to feel?
4. Come up with another image (not included in the text) that conveys a predicament similar to the plight of the sinner that Edwards speaks of.
5. Consider the imagery of suspension that occurs throughout the sermon. What images are used? Are they effective? Why or why not?
Part IV: Thinking about how the sermon works
1. How does this sermon work? What makes/made it effective?
2. What are Edwards’ sources of authority or credibility? How does he elicit a response from his listeners?
"Sinners in the Hands of an Angry God"
Make the Connection: The Great Motivator
Ralph Waldo Emerson wrote that “Fear is an instructor of great sagacity and the herald of all revolutions.” Many people would agree that fear is one of the most powerful motivators of human behavior. Fear of injury makes us buckle our seat belts. Fear of failure makes some of us study or work harder. Edwards and other pastors used harsh warnings in their sermons to make “sinners” understand the precariousness of their situation by actually feeling the fear and horror of their sinful state.
From “Sinners in the Hands of an Angry God” by Jonathan Edwards
So that, thus it is that natural men are held in the hand of god, over the pit of hell; they have deserved the fiery pit, and are already sentenced to it; and God is dreadfully provoked, His anger is as great toward them as to those that are actually suffering the executions of the fierceness of His wrath in hell, and they have done nothing in the least to appease or abate that anger, neither is God in the least bound by any promise to hold them up on moment: the devil is waiting for them, hell is gaping for them, the flames gather and flash about them, and would fain lay hold on them, and swallow them up; the fire pent up in their own hearts is struggling to break out: And they have no interest in any mediator, there are no means within reach that can be any security to them.
In short, they have no refuge, nothing to take hold of; all that preserves them every moment is the mere arbitrary will, and uncovenanted, unobliged forbearance of an incensed God
The use of this awful subject may be for awakening unconverted persons in this congregation. This that you have heard is the case of every one of you that are out of Christ. That world of misery, that lake of burning brimstone, is extended abroad under you. There is the dreadful pit of the glowing flames of the wrath of God; there is hell’s wide gaping mouth open; and you have nothing to stand upon, nor anything to take hold of; there is nothing between you and hell but the air; it is only the power and mere pleasure of God that holds you up.
You probably are not sensible of this; you find you are kept out of hell, but do not see the hand of God in it; but look at other things, as the good state of your bodily constitution, your care of your own life, and the means you use for your own preservation. But indeed these things are nothing; if God should withdraw His hand, they would avail no more to keep you from falling, than the thin air to hold up a person that is suspended in it.
Your wickedness makes you as it were heavy as lead, and to tend downward with great weight and pressure toward hell; and if God should let you go, you would immediately sink and swiftly descend and plunge into the bottomless gulf, and your healthy constitution, and your own care and prudence, and best contrivance, and all your righteousness, would have no more influence to uphold you and keep you out of hell, than a spider’s web would have to stop a fallen rock . . . .
The wrath of God is like great waters that are dammed for the present; they increase more and more, and rise higher and higher, till an outlet is given; and the longer the stream is stopped, the more rapid and mighty is its course, when once it is let loose. It is true, that judgment against your evil works has not been executed hitherto; the floods of God’s vengeance have been withheld; but your guilt in the meantime is constantly increasing, and you are every day treasuring up more wrath; the waters are constantly rising, and waxing more and more mighty; and there is nothing but the mere pleasure of God that holds the waters back, that are unwilling to be stopped, and press hard to go forward. If God should only withdraw His hand from the floodgate, it would immediately fly open, and the fiery floods of the fierceness and wrath of God, would rush forth with inconceivable fury, and would come upon you with omnipotent power; and if your strength were ten thousand times greater than it is, yea, ten thousand times greater than the strength of the stoutest, sturdiest devil in hell, it would be nothing to withstand or endure it.
The bow of God’s wrath is bent, and the arrow made ready on the string, and justice bends the arrow at your heart, and strains the bow, and it is nothing but the mere pleasure of God, and that of an angry God, without any promise or obligation at all, that keeps the arrow one moment from being made drunk with your blood. Thus all you that never passed under a great change of heart, by the mighty power of the Spirit of God upon your souls; all you that were never born again, and made new creatures, and raised from being dead in sin, to a state of new, and before altogether unexperienced light and life, are in the hands of an angry God. However you may have reformed your life in many things, and may have had religious affections, and may keep up a form of religion in your families and closets, and the house of God, it is nothing but His mere pleasure that keeps you from being this moment swallowed up in everlasting destruction. However unconvinced you may now be of the truth of what you hear, by and by you will be fully convinced of it. Those that are gone from being in the like circumstances with you, see that it was so with them; for destruction came suddenly upon most of them; when they expected nothing of it, and while they were saying, peace and safety: Now they see, that those things on which they depended for peace and safety, were nothing but thin air and empty shadows.
The God that holds you over the pit of hell, much as one holds a spider, or some loathsome insect over the fire, abhors you, and is dreadfully provoked: His wrath toward you burns like fire; He looks upon you as worthy of nothing else but to be cast into the fire; He is of purer eyes than to bear to have you in His sight; you are ten thousand times more abominable in His eyes than the most hateful venomous serpent is in ours. You have offended Him infinitely more than ever a stubborn rebel did his prince; and yet it is nothing but His hand that holds you from falling into the fire every moment. It is to be ascribed to nothing else, that you did not go to hell the last night; that you was suffered to awake again in this world, after you closed your eyes to sleep. And there is no other reason to be given, why you have other reason to be given, why you have not dropped into hell since you arose in the morning, but that God’s hand has held you up. There is no other reason to be given why you have sat here in the house of God, provoking His pure eyes by your sinful wicked manner of attending His solemn worship. Yea, there is nothing else that is to be given there is nothing else that is to be given as a reason why you do not this very moment drop down into hell.
O sinner! Consider the fearful danger you are in: It is a great furnace of wrath, a wide and bottomless pit, full of the fire of wrath, that you are held over in the hand of that God, whose wrath is provoked and incensed as much against you, as against many of the damned in hell. You hang by a slender thread, with the flames of divine wrath flashing about it, and ready every moment to singe it, and burn it asunder; and you have no interest in any Mediator, and nothing to lay hold of to save yourself, nothing to keep off the flames of wrath, nothing of your own, nothing that you ever have done, nothing that you can do, to induce God to spare you one moment . . . .
Ralph Waldo Emerson wrote that “Fear is an instructor of great sagacity and the herald of all revolutions.” Many people would agree that fear is one of the most powerful motivators of human behavior. Fear of injury makes us buckle our seat belts. Fear of failure makes some of us study or work harder. Edwards and other pastors used harsh warnings in their sermons to make “sinners” understand the precariousness of their situation by actually feeling the fear and horror of their sinful state.
From “Sinners in the Hands of an Angry God” by Jonathan Edwards
So that, thus it is that natural men are held in the hand of god, over the pit of hell; they have deserved the fiery pit, and are already sentenced to it; and God is dreadfully provoked, His anger is as great toward them as to those that are actually suffering the executions of the fierceness of His wrath in hell, and they have done nothing in the least to appease or abate that anger, neither is God in the least bound by any promise to hold them up on moment: the devil is waiting for them, hell is gaping for them, the flames gather and flash about them, and would fain lay hold on them, and swallow them up; the fire pent up in their own hearts is struggling to break out: And they have no interest in any mediator, there are no means within reach that can be any security to them.
In short, they have no refuge, nothing to take hold of; all that preserves them every moment is the mere arbitrary will, and uncovenanted, unobliged forbearance of an incensed God
The use of this awful subject may be for awakening unconverted persons in this congregation. This that you have heard is the case of every one of you that are out of Christ. That world of misery, that lake of burning brimstone, is extended abroad under you. There is the dreadful pit of the glowing flames of the wrath of God; there is hell’s wide gaping mouth open; and you have nothing to stand upon, nor anything to take hold of; there is nothing between you and hell but the air; it is only the power and mere pleasure of God that holds you up.
You probably are not sensible of this; you find you are kept out of hell, but do not see the hand of God in it; but look at other things, as the good state of your bodily constitution, your care of your own life, and the means you use for your own preservation. But indeed these things are nothing; if God should withdraw His hand, they would avail no more to keep you from falling, than the thin air to hold up a person that is suspended in it.
Your wickedness makes you as it were heavy as lead, and to tend downward with great weight and pressure toward hell; and if God should let you go, you would immediately sink and swiftly descend and plunge into the bottomless gulf, and your healthy constitution, and your own care and prudence, and best contrivance, and all your righteousness, would have no more influence to uphold you and keep you out of hell, than a spider’s web would have to stop a fallen rock . . . .
The wrath of God is like great waters that are dammed for the present; they increase more and more, and rise higher and higher, till an outlet is given; and the longer the stream is stopped, the more rapid and mighty is its course, when once it is let loose. It is true, that judgment against your evil works has not been executed hitherto; the floods of God’s vengeance have been withheld; but your guilt in the meantime is constantly increasing, and you are every day treasuring up more wrath; the waters are constantly rising, and waxing more and more mighty; and there is nothing but the mere pleasure of God that holds the waters back, that are unwilling to be stopped, and press hard to go forward. If God should only withdraw His hand from the floodgate, it would immediately fly open, and the fiery floods of the fierceness and wrath of God, would rush forth with inconceivable fury, and would come upon you with omnipotent power; and if your strength were ten thousand times greater than it is, yea, ten thousand times greater than the strength of the stoutest, sturdiest devil in hell, it would be nothing to withstand or endure it.
The bow of God’s wrath is bent, and the arrow made ready on the string, and justice bends the arrow at your heart, and strains the bow, and it is nothing but the mere pleasure of God, and that of an angry God, without any promise or obligation at all, that keeps the arrow one moment from being made drunk with your blood. Thus all you that never passed under a great change of heart, by the mighty power of the Spirit of God upon your souls; all you that were never born again, and made new creatures, and raised from being dead in sin, to a state of new, and before altogether unexperienced light and life, are in the hands of an angry God. However you may have reformed your life in many things, and may have had religious affections, and may keep up a form of religion in your families and closets, and the house of God, it is nothing but His mere pleasure that keeps you from being this moment swallowed up in everlasting destruction. However unconvinced you may now be of the truth of what you hear, by and by you will be fully convinced of it. Those that are gone from being in the like circumstances with you, see that it was so with them; for destruction came suddenly upon most of them; when they expected nothing of it, and while they were saying, peace and safety: Now they see, that those things on which they depended for peace and safety, were nothing but thin air and empty shadows.
The God that holds you over the pit of hell, much as one holds a spider, or some loathsome insect over the fire, abhors you, and is dreadfully provoked: His wrath toward you burns like fire; He looks upon you as worthy of nothing else but to be cast into the fire; He is of purer eyes than to bear to have you in His sight; you are ten thousand times more abominable in His eyes than the most hateful venomous serpent is in ours. You have offended Him infinitely more than ever a stubborn rebel did his prince; and yet it is nothing but His hand that holds you from falling into the fire every moment. It is to be ascribed to nothing else, that you did not go to hell the last night; that you was suffered to awake again in this world, after you closed your eyes to sleep. And there is no other reason to be given, why you have other reason to be given, why you have not dropped into hell since you arose in the morning, but that God’s hand has held you up. There is no other reason to be given why you have sat here in the house of God, provoking His pure eyes by your sinful wicked manner of attending His solemn worship. Yea, there is nothing else that is to be given there is nothing else that is to be given as a reason why you do not this very moment drop down into hell.
O sinner! Consider the fearful danger you are in: It is a great furnace of wrath, a wide and bottomless pit, full of the fire of wrath, that you are held over in the hand of that God, whose wrath is provoked and incensed as much against you, as against many of the damned in hell. You hang by a slender thread, with the flames of divine wrath flashing about it, and ready every moment to singe it, and burn it asunder; and you have no interest in any Mediator, and nothing to lay hold of to save yourself, nothing to keep off the flames of wrath, nothing of your own, nothing that you ever have done, nothing that you can do, to induce God to spare you one moment . . . .
Friday, March 9, 2012
How to Read a Poem
1. Start with the title--interpret
2. Read straight through
3. Find a foothold
4. Look for patterns
5. Identify the persona (speaker)
6. Reflect--what does it mean?
7. Look at the language (metaphors, similes, etc.)
8. Return to the title
2. Read straight through
3. Find a foothold
4. Look for patterns
5. Identify the persona (speaker)
6. Reflect--what does it mean?
7. Look at the language (metaphors, similes, etc.)
8. Return to the title
Tuesday, March 6, 2012
Why I Wrote The Crucible by Arthur Miller
Using the two column note-taking technique, list five important ideas found in this article (left hand column). In the right hand column, respond to those ideas. What insights does Miller share with the reader? How can you relate to these ideas? What themes appear in Miller's article that you might see in The Crucible? Why?
Why I Wrote The Crucible
An artist’s answer to politics
By Arthur Miller
From The New Yorker, October 21 and 28, 1996
As I watched "The Crucible" taking shape as a movie over much of the past year, the sheer depth of time that it represents for me kept returning to mind. As those powerful actors blossomed on the screen, and the children and the horses, the crowds and the wagons, I thought again about how I came to cook all this up nearly fifty years ago, in an America almost nobody I know seems to remember clearly . . . .
I remember those years—they formed "The Crucible" 's skeleton—but I have lost the dead weight of the fear I had then. Fear doesn't travel well; just as it can warp judgment, its absence can diminish memory's truth. What terrifies one generation is likely to bring only a puzzled smile to the next. . . .
[Senator] McCarthy's power to stir fears of creeping Communism was not entirely based on illusion, of course. . . . From being our wartime ally, the Soviet Union rapidly became an expanding empire. In 1949, Mao Zedong took power in China. Western Europe also seemed ready to become Red—especially Italy, where the Communist Party was the largest outside Russia, and was growing. . . McCarthy—brash and ill-mannered but to many authentic and true—boiled it all down to what anyone could understand: we had "lost China" and would soon lose Europe as well, because the State Department—staffed, of course, under Democratic Presidents—was full of treasonous pro-Soviet intellectuals. It was as simple as that. . . .
"The Crucible" was an act of desperation . . . . By 1950, when I began to think of writing about the hunt for Reds in America, I was motivated in some great part by the paralysis that had set in among many liberals who, despite their discomfort with the inquisitors' violations of civil rights, were fearful, and with good reason, of being identified as covert Communists if they should protest too strongly. . . .
I visited Salem for the first time on a dismal spring day in 1952. . . . In the gloomy courthouse there I read the transcripts of the witchcraft trials of 1692, as taken down in a primitive shorthand by ministers who were spelling each other. But there was one entry in Upham in which the thousands of pieces I had come across were jogged into place. It was from a report written by the Reverend Samuel Parris, who was one of the chief instigators of the witch-hunt. "During the examination of Elizabeth Procter, Abigail Williams and Ann Putnam"—the two were "afflicted" teen-age accusers, and Abigail was Parris's niece—"both made offer to strike at said Procter; but when Abigail's hand came near, it opened, whereas it was made up into a fist before, and came down exceeding lightly as it drew near to said Procter, and at length, with open and extended fingers, touched Procter's hood very lightly. Immediately Abigail cried out her fingers, her fingers, her fingers burned. . . ."
In this remarkably observed gesture of a troubled young girl, I believed, a play became possible. Elizabeth Proctor had been the orphaned Abigail's mistress, and they had lived together in the same small house until Elizabeth fired the girl. By this time, I was sure, John Proctor had bedded Abigail, who had to be dismissed most likely to appease Elizabeth. There was bad blood between the two women now. That Abigail started, in effect, to condemn Elizabeth to death with her touch, then stopped her hand, then went through with it, was quite suddenly the human center of all this turmoil.
All this I understood. I had not approached the witchcraft out of nowhere, or from purely social and political considerations. My own marriage of twelve years was teetering and I knew more than I wished to know about where the blame lay. That John Proctor the sinner might overturn his paralyzing personal guilt and become the most forthright voice against the madness around him was a reassurance to me, and, I suppose, an inspiration: it demonstrated that a clear moral outcry could still spring even from an ambiguously unblemished soul. Moving crabwise across the profusion of evidence, I sensed that I had at last found something of myself in it, and a play began to accumulate around this man.
Why I Wrote The Crucible
An artist’s answer to politics
By Arthur Miller
From The New Yorker, October 21 and 28, 1996
As I watched "The Crucible" taking shape as a movie over much of the past year, the sheer depth of time that it represents for me kept returning to mind. As those powerful actors blossomed on the screen, and the children and the horses, the crowds and the wagons, I thought again about how I came to cook all this up nearly fifty years ago, in an America almost nobody I know seems to remember clearly . . . .
I remember those years—they formed "The Crucible" 's skeleton—but I have lost the dead weight of the fear I had then. Fear doesn't travel well; just as it can warp judgment, its absence can diminish memory's truth. What terrifies one generation is likely to bring only a puzzled smile to the next. . . .
[Senator] McCarthy's power to stir fears of creeping Communism was not entirely based on illusion, of course. . . . From being our wartime ally, the Soviet Union rapidly became an expanding empire. In 1949, Mao Zedong took power in China. Western Europe also seemed ready to become Red—especially Italy, where the Communist Party was the largest outside Russia, and was growing. . . McCarthy—brash and ill-mannered but to many authentic and true—boiled it all down to what anyone could understand: we had "lost China" and would soon lose Europe as well, because the State Department—staffed, of course, under Democratic Presidents—was full of treasonous pro-Soviet intellectuals. It was as simple as that. . . .
"The Crucible" was an act of desperation . . . . By 1950, when I began to think of writing about the hunt for Reds in America, I was motivated in some great part by the paralysis that had set in among many liberals who, despite their discomfort with the inquisitors' violations of civil rights, were fearful, and with good reason, of being identified as covert Communists if they should protest too strongly. . . .
I visited Salem for the first time on a dismal spring day in 1952. . . . In the gloomy courthouse there I read the transcripts of the witchcraft trials of 1692, as taken down in a primitive shorthand by ministers who were spelling each other. But there was one entry in Upham in which the thousands of pieces I had come across were jogged into place. It was from a report written by the Reverend Samuel Parris, who was one of the chief instigators of the witch-hunt. "During the examination of Elizabeth Procter, Abigail Williams and Ann Putnam"—the two were "afflicted" teen-age accusers, and Abigail was Parris's niece—"both made offer to strike at said Procter; but when Abigail's hand came near, it opened, whereas it was made up into a fist before, and came down exceeding lightly as it drew near to said Procter, and at length, with open and extended fingers, touched Procter's hood very lightly. Immediately Abigail cried out her fingers, her fingers, her fingers burned. . . ."
In this remarkably observed gesture of a troubled young girl, I believed, a play became possible. Elizabeth Proctor had been the orphaned Abigail's mistress, and they had lived together in the same small house until Elizabeth fired the girl. By this time, I was sure, John Proctor had bedded Abigail, who had to be dismissed most likely to appease Elizabeth. There was bad blood between the two women now. That Abigail started, in effect, to condemn Elizabeth to death with her touch, then stopped her hand, then went through with it, was quite suddenly the human center of all this turmoil.
All this I understood. I had not approached the witchcraft out of nowhere, or from purely social and political considerations. My own marriage of twelve years was teetering and I knew more than I wished to know about where the blame lay. That John Proctor the sinner might overturn his paralyzing personal guilt and become the most forthright voice against the madness around him was a reassurance to me, and, I suppose, an inspiration: it demonstrated that a clear moral outcry could still spring even from an ambiguously unblemished soul. Moving crabwise across the profusion of evidence, I sensed that I had at last found something of myself in it, and a play began to accumulate around this man.
Arthur Miller Biography
Read the following biography. Use double-column notes to find five important facts about Arthur Miller (left hand column). In the right hand column, respond. Why is this important? How would this affect his writing? What are some themes in Miller's life that might later occur in his writing?
Arthur Miller
(1915-2005)
By Robert Anderson
Arthur Miller, considered by many to be the pre-eminent American playwright of the second half of the twentieth century, was born in New York Ckity. His father manufactured women’s coats, and his mother was a schoolteacher. In high school, Arthur was more involved with sports than with literature. “Until the age of seventeen,” Miller said, “I can safely say that I never read a book weightier than Tom Swift and the Rover Boys, and only verged on literature with some Dickens.”
On graduation from high school, Miller applied to the University of Michigan, but his grades were not good enough for a scholarship, and the Depression left his father unable to finance his tuition. To earn money for college, Miller worked for two years in an automobile parts plant, where, incidentally, he read Tolstoy’s War and Peace. The experience in the parts plant later supplied him with the material for his 1955 play A Memory of Two Mondays.
Miller eventually enrolled in the University of Michigan. To help finance his education, he took on various jobs. First, he was a mouse tender in the university science laboratory. Later, he moved on (and up) to become the night editor of the Michigan Daily. More important, he started to write plays.
After graduation, Miller returned to New York and, like many of us “playwrights-in-waiting,” earned a living by writing radio scripts for such programs as Cavalcade of America, the Columbia Workshop, and The Theatre Guild of the Air.
Miller’s first Broadway success, All My Sons, was produced in 1947 and won The New York Drama Critic’s award for Best Play. That play struck a note that was to become familiar in Miller’s work: the need for moral responsibility in families and society.
In 1949, with the production of his masterpiece, Death of a Salesman (written in a small studio he built with his own hands on his property in northwestern Connecticut), all promises were fulfilled. Miller instantly joined the pantheon of the great American playwrights.
It was totally in character that Miller’s next play, produced in 1953, should be The Crucible—about a witch hunt that took place in 1692 in Salem, Massachusetts. In that witch-hunt, Miller found parallels to the “Red hunt” being conducted in the 195s in Washington, D.C., by Senator Joseph McCarthy. Writers, actors, politicians—and all kinds of other people—were summoned to appear before McCarthy to answer the question: “Are you now or were you ever a Communist?” Those summoned were required to inform on neighbors and friends or be sent to jail.
Three years after the production of The Crucible in New York, Miller was summoned before a congressional committee. He spoke freely about himself and his occasional attendance, years before, as a guest at Communist meetings; but he refused to name names of other people in attendance. Miller was found in contempt of Congress, but his conviction was later overturned by the Supreme Court.
The Crucible was not successful in its first production. Some critics questioned the comparison between the old hitch-hunts and the contemporary hunt for Communists in government. In a later production, supervised by Miller himself, the play ran for over six hundred performances. It is now Miller’s most produced play.
Arthur Miller
(1915-2005)
By Robert Anderson
Arthur Miller, considered by many to be the pre-eminent American playwright of the second half of the twentieth century, was born in New York Ckity. His father manufactured women’s coats, and his mother was a schoolteacher. In high school, Arthur was more involved with sports than with literature. “Until the age of seventeen,” Miller said, “I can safely say that I never read a book weightier than Tom Swift and the Rover Boys, and only verged on literature with some Dickens.”
On graduation from high school, Miller applied to the University of Michigan, but his grades were not good enough for a scholarship, and the Depression left his father unable to finance his tuition. To earn money for college, Miller worked for two years in an automobile parts plant, where, incidentally, he read Tolstoy’s War and Peace. The experience in the parts plant later supplied him with the material for his 1955 play A Memory of Two Mondays.
Miller eventually enrolled in the University of Michigan. To help finance his education, he took on various jobs. First, he was a mouse tender in the university science laboratory. Later, he moved on (and up) to become the night editor of the Michigan Daily. More important, he started to write plays.
After graduation, Miller returned to New York and, like many of us “playwrights-in-waiting,” earned a living by writing radio scripts for such programs as Cavalcade of America, the Columbia Workshop, and The Theatre Guild of the Air.
Miller’s first Broadway success, All My Sons, was produced in 1947 and won The New York Drama Critic’s award for Best Play. That play struck a note that was to become familiar in Miller’s work: the need for moral responsibility in families and society.
In 1949, with the production of his masterpiece, Death of a Salesman (written in a small studio he built with his own hands on his property in northwestern Connecticut), all promises were fulfilled. Miller instantly joined the pantheon of the great American playwrights.
It was totally in character that Miller’s next play, produced in 1953, should be The Crucible—about a witch hunt that took place in 1692 in Salem, Massachusetts. In that witch-hunt, Miller found parallels to the “Red hunt” being conducted in the 195s in Washington, D.C., by Senator Joseph McCarthy. Writers, actors, politicians—and all kinds of other people—were summoned to appear before McCarthy to answer the question: “Are you now or were you ever a Communist?” Those summoned were required to inform on neighbors and friends or be sent to jail.
Three years after the production of The Crucible in New York, Miller was summoned before a congressional committee. He spoke freely about himself and his occasional attendance, years before, as a guest at Communist meetings; but he refused to name names of other people in attendance. Miller was found in contempt of Congress, but his conviction was later overturned by the Supreme Court.
The Crucible was not successful in its first production. Some critics questioned the comparison between the old hitch-hunts and the contemporary hunt for Communists in government. In a later production, supervised by Miller himself, the play ran for over six hundred performances. It is now Miller’s most produced play.
Plagiarism Policy
Brighton High School’s English Department Plagiarism Policy
Dear Parents and Students:
In keeping with our desire to help students develop a sense of academic integrity, the Brighton high School English Department has established the following policy concerning plagiarism.
The definition of plagiarism is to take ideas, writing, or concepts from another source and pass them off as one’s own. Plagiarism includes, but is not included to:
• Printing off or downloading information from Internet websites and turning it in as if it were your own.
• Buying essays from the Internet and turning them in as your own.
• Accepting information and/or essays or other written work from former and current students and submitting it as your own.
• Using ideas, information, or working from Cliff’s Notes, SparkNotes.com, or other academically oriented supplements without citing (giving credit to) the source.
• Using quotes, statistics, or other information in your writing without citing the source.
• Paraphrasing another person’s ideas, i.e. reading information, and while changing a few words, using it as your own ideas without giving credit to the source.
In other words: taking another’s writing or ideas and using the writing, style, main ideas, or information without citing the original source, or simply putting your name on another’s writing, style, main ideas, or information, is plagiarism.
Please note the following policy and procedures of Brighton High School’s English Department regarding plagiarism:
1. A student who is found cheating on a test or assignment will be given “0” for the assignment. There will be no opportunity to “redo” the test or assignment. They may also lose the opportunity to do extra credit for the class.
2. A student whose major writing assignment—essay or research paper—seems to have been intentionally plagiarized as outlined above will be given a “0” without opportunity to rewrite the assignment.
3. If the student is part of the Honors program, and has cheated or intentionally plagiarized, he or she will be recommended for removal from the program.
4. Students are encouraged to keep all of their writing process—drafts, notes, sources, copies of sources, peer editing sheets—as evidence of their original work.
5. A committee made up of community and faculty members will be in place to review decisions regarding plagiarism and the subsequent consequences, and students may appeal to this committee.
Please sign and date below to indicate that you understand this plagiarism policy.
_____________________________________________________________________________________Printed Student Name
_____________________________________________________________________________________
Student Signature Date
_____________________________________________________________________________________
Parent Signature Date
_____________________________________________________________________________________
Dear Parents and Students:
In keeping with our desire to help students develop a sense of academic integrity, the Brighton high School English Department has established the following policy concerning plagiarism.
The definition of plagiarism is to take ideas, writing, or concepts from another source and pass them off as one’s own. Plagiarism includes, but is not included to:
• Printing off or downloading information from Internet websites and turning it in as if it were your own.
• Buying essays from the Internet and turning them in as your own.
• Accepting information and/or essays or other written work from former and current students and submitting it as your own.
• Using ideas, information, or working from Cliff’s Notes, SparkNotes.com, or other academically oriented supplements without citing (giving credit to) the source.
• Using quotes, statistics, or other information in your writing without citing the source.
• Paraphrasing another person’s ideas, i.e. reading information, and while changing a few words, using it as your own ideas without giving credit to the source.
In other words: taking another’s writing or ideas and using the writing, style, main ideas, or information without citing the original source, or simply putting your name on another’s writing, style, main ideas, or information, is plagiarism.
Please note the following policy and procedures of Brighton High School’s English Department regarding plagiarism:
1. A student who is found cheating on a test or assignment will be given “0” for the assignment. There will be no opportunity to “redo” the test or assignment. They may also lose the opportunity to do extra credit for the class.
2. A student whose major writing assignment—essay or research paper—seems to have been intentionally plagiarized as outlined above will be given a “0” without opportunity to rewrite the assignment.
3. If the student is part of the Honors program, and has cheated or intentionally plagiarized, he or she will be recommended for removal from the program.
4. Students are encouraged to keep all of their writing process—drafts, notes, sources, copies of sources, peer editing sheets—as evidence of their original work.
5. A committee made up of community and faculty members will be in place to review decisions regarding plagiarism and the subsequent consequences, and students may appeal to this committee.
Please sign and date below to indicate that you understand this plagiarism policy.
_____________________________________________________________________________________Printed Student Name
_____________________________________________________________________________________
Student Signature Date
_____________________________________________________________________________________
Parent Signature Date
_____________________________________________________________________________________
Outside Novel Approval
Outside Novel Assignment
Your outside novel assignment is to go to a local library or bookstore and find a book that is interesting to you. You can choose any genre as long as it is a minimum of 200 pages and is on your reading level. Don’t choose something that you will have extreme difficulty understanding (and then lose interest and don’t want to finish) or something that is much too easy for you. It cannot be a book that you read for your summer reading assignment or something that you have read before.
After you have made your selection, you must inform your parents of this decision, and have them sign this permission slip so I know they are informed of your choice and approve of it.
You will have an assignment for this book, so read it carefully!
Student’s Name_______________________________
Book Title:______________________________________
Parent Signature: _____________________________
Date________________Period___________________
Your outside novel assignment is to go to a local library or bookstore and find a book that is interesting to you. You can choose any genre as long as it is a minimum of 200 pages and is on your reading level. Don’t choose something that you will have extreme difficulty understanding (and then lose interest and don’t want to finish) or something that is much too easy for you. It cannot be a book that you read for your summer reading assignment or something that you have read before.
After you have made your selection, you must inform your parents of this decision, and have them sign this permission slip so I know they are informed of your choice and approve of it.
You will have an assignment for this book, so read it carefully!
Student’s Name_______________________________
Book Title:______________________________________
Parent Signature: _____________________________
Date________________Period___________________
iPad Policy
Brighton High School
iPad Policy, Procedures, and Information
iPad Program
The focus of the iPad program at Brighton High School is to provide tools and resources to the 21st Century Learner. Excellence in education requires that technology be seamlessly integrated throughout the educational program. Increasing access to technology is essential for that future, and one of the learning tools of these twenty-first century students is the iPad computer.
General Precautions
The iPad is school property and all users will follow this policy and the Brighton acceptable use policy for technology.
• Cords and cables must be inserted carefully into the iPad to prevent damage.
• iPads must remain free of any writing, drawing, stickers, or labels that are not the property
of the Canyons School District.
• Care should be taken to avoid placing too much pressure and weight on the iPad
screen.
Screensavers/Background photos
• Inappropriate media may not be used as a screensaver or background photo.
• Presence of guns, weapons, pornographic materials, inappropriate language, alcohol, drug, gang related symbols or pictures will result in disciplinary actions.
• Passwords are not to be used.
Sound, Music, Games, or Programs
• Sound must be muted at all times unless permission is obtained from the teacher for
instructional purposes.
• Internet Games are not allowed on the iPads. If game apps are installed, it will be with
Brighton staff authorization.
• All software/Apps must be district provided. Data Storage will be through apps on the iPad and email to a server location.
•
Saving to the iPad/Home Directory
Students may save work to the home directory on the iPad. It is recommended students e-mail documents to himself or herself for storage on a flash drive or District server. Storage space will be available on the iPad—BUT it will NOT be backed up in case of re-imaging. It is the student’s responsibility to ensure that work is not lost due to mechanical failure or accidental deletion. iPad malfunctions are not an acceptable excuse for not submitting work.
Originally Installed Software
The software/Apps originally installed by BRIGHTON must remain on the iPad in usable condition and be easily accessible at all times. From time to time the school may add software applications for use in a particular course. The licenses for this software require that the software be deleted from iPads at the completion of the course. Periodic checks of iPads will be made to ensure that students have not removed required apps.
Inspection
Students may be selected at random to provide their iPad for inspection.
Acceptable Use
The use of Brighton technology resources is a privilege, not a right. This policy is provided to make all users aware of the responsibilities associated with efficient, ethical, and lawful use of technology resources. If a person violates any of the User Terms and Conditions named in this policy, privileges may be terminated, access to the school district technology resources may be denied, and the appropriate disciplinary action shall be applied. The Brighton Student Code of Conduct will be applied to student infractions.
Violations may result in disciplinary action up to and including suspension/ expulsion for students. When applicable, law enforcement agencies may be involved.
Students are Responsibilities for:
• Using computers/devices in a responsible and ethical manner.
• Obeying general school rules concerning behavior and communication that apply to iPad/computer use.
• Using all technology resources in an appropriate manner so as to not damage school equipment. This “damage” includes, but is not limited to, the loss of data resulting from delays, non-deliveries, mis-deliveries or service interruptions caused by the student negligence, errors or omissions. Use of any information obtained via Canyons District’s designated Internet System is at your own risk. Canyons District specifically denies any responsibility for the accuracy or quality of information obtained through its services.
• Helping Brighton protect our computer system/device by contacting an administrator about any security problems they may encounter.
• Monitoring all activity on your account(s).
• Students should always turn off and secure their iPad in the mobile lab after they are done working to protect their work and information.
• If a student should receive email containing inappropriate or abusive language or if the subject matter is questionable, he/she is asked to print a copy and turn it in to their respective assistant principal.
Student Activities Strictly Prohibited:
• Illegal installation or transmission of copyrighted materials
• Any action that violates existing Board policy or public law
• Sending, accessing, uploading, downloading, or distributing offensive, profane, threatening, pornographic, obscene, or sexually explicit materials
• Use of chat rooms, sites selling term papers, book reports and other forms of student work
• Messaging services-EX: MSN Messenger, ICQ, etc
• Internet/Computer Games
• Use of outside data disks or external attachments without prior approval from the administration
• Changing of iPad settings (exceptions include personal settings such as font size, brightness, etc)
• Downloading apps
• Spamming-Sending mass or inappropriate emails
• Gaining access to other student’s accounts, files, and/or data
• Use of the school’s internet/E-mail accounts for financial or commercial gain or for any illegal activity
• Use of anonymous and/or false communications such as MSN Messenger, Yahoo Messenger
• Students are not allowed to give out personal information, for any reason, over the Internet. This includes, but is not limited to, setting up internet accounts including those necessary for chat rooms, Ebay, email, etc. Participation in credit card fraud, electronic forgery or other forms of illegal behavior.
• Vandalism (any malicious attempt to harm or destroy hardware, software or data, including, but not limited to, the uploading or creation of computer viruses or computer programs that can infiltrate computer systems and/or damage software components) of school equipment will not be allowed
• Transmission or accessing materials that are obscene, offensive, threatening or otherwise intended to harass or demean recipients.
• Bypassing Canyons School District web filter through a web proxy
Legal Propriety
• Comply with trademark and copyright laws and all license agreements. Ignorance of the law is not immunity. If you are unsure, ask a teacher or parent.
• Plagiarism is a violation of the Brighton’s Code of Conduct. Give credit to all sources used, whether quoted or summarized. This includes all forms of media on the Internet, such as graphics, movies, music, and text.
• Use or possession of hacking software is strictly prohibited and violators will be subject to punishment. Violation of applicable state or federal law will result in criminal prosecution or disciplinary action by Canyons School District.
Student Discipline
If a student violates any part of the above policy, he/she will be lose iPad privileges.
iPads Left in Unsupervised Areas
Under no circumstances should iPads be left in unsupervised areas or removed from room 322.
REPAIRING OR REPLACING YOUR iPAD COMPUTER
Students will be held responsible for ALL damage to their iPads including, but not limited to: broken screens, cracked plastic pieces, inoperability, etc. Should the cost to repair exceed the cost of purchasing a new device, the student will pay for full replacement value. Lost items such as covers and cables will be charged the actual replacement cost.
Student Name (Please Print): _____________________________________________________
Student Signature:___________________________________________Date:_______________
Parent Name (Please Print): ______________________________________________________
Parent Signature: ___________________________________________D
iPad Policy, Procedures, and Information
iPad Program
The focus of the iPad program at Brighton High School is to provide tools and resources to the 21st Century Learner. Excellence in education requires that technology be seamlessly integrated throughout the educational program. Increasing access to technology is essential for that future, and one of the learning tools of these twenty-first century students is the iPad computer.
General Precautions
The iPad is school property and all users will follow this policy and the Brighton acceptable use policy for technology.
• Cords and cables must be inserted carefully into the iPad to prevent damage.
• iPads must remain free of any writing, drawing, stickers, or labels that are not the property
of the Canyons School District.
• Care should be taken to avoid placing too much pressure and weight on the iPad
screen.
Screensavers/Background photos
• Inappropriate media may not be used as a screensaver or background photo.
• Presence of guns, weapons, pornographic materials, inappropriate language, alcohol, drug, gang related symbols or pictures will result in disciplinary actions.
• Passwords are not to be used.
Sound, Music, Games, or Programs
• Sound must be muted at all times unless permission is obtained from the teacher for
instructional purposes.
• Internet Games are not allowed on the iPads. If game apps are installed, it will be with
Brighton staff authorization.
• All software/Apps must be district provided. Data Storage will be through apps on the iPad and email to a server location.
•
Saving to the iPad/Home Directory
Students may save work to the home directory on the iPad. It is recommended students e-mail documents to himself or herself for storage on a flash drive or District server. Storage space will be available on the iPad—BUT it will NOT be backed up in case of re-imaging. It is the student’s responsibility to ensure that work is not lost due to mechanical failure or accidental deletion. iPad malfunctions are not an acceptable excuse for not submitting work.
Originally Installed Software
The software/Apps originally installed by BRIGHTON must remain on the iPad in usable condition and be easily accessible at all times. From time to time the school may add software applications for use in a particular course. The licenses for this software require that the software be deleted from iPads at the completion of the course. Periodic checks of iPads will be made to ensure that students have not removed required apps.
Inspection
Students may be selected at random to provide their iPad for inspection.
Acceptable Use
The use of Brighton technology resources is a privilege, not a right. This policy is provided to make all users aware of the responsibilities associated with efficient, ethical, and lawful use of technology resources. If a person violates any of the User Terms and Conditions named in this policy, privileges may be terminated, access to the school district technology resources may be denied, and the appropriate disciplinary action shall be applied. The Brighton Student Code of Conduct will be applied to student infractions.
Violations may result in disciplinary action up to and including suspension/ expulsion for students. When applicable, law enforcement agencies may be involved.
Students are Responsibilities for:
• Using computers/devices in a responsible and ethical manner.
• Obeying general school rules concerning behavior and communication that apply to iPad/computer use.
• Using all technology resources in an appropriate manner so as to not damage school equipment. This “damage” includes, but is not limited to, the loss of data resulting from delays, non-deliveries, mis-deliveries or service interruptions caused by the student negligence, errors or omissions. Use of any information obtained via Canyons District’s designated Internet System is at your own risk. Canyons District specifically denies any responsibility for the accuracy or quality of information obtained through its services.
• Helping Brighton protect our computer system/device by contacting an administrator about any security problems they may encounter.
• Monitoring all activity on your account(s).
• Students should always turn off and secure their iPad in the mobile lab after they are done working to protect their work and information.
• If a student should receive email containing inappropriate or abusive language or if the subject matter is questionable, he/she is asked to print a copy and turn it in to their respective assistant principal.
Student Activities Strictly Prohibited:
• Illegal installation or transmission of copyrighted materials
• Any action that violates existing Board policy or public law
• Sending, accessing, uploading, downloading, or distributing offensive, profane, threatening, pornographic, obscene, or sexually explicit materials
• Use of chat rooms, sites selling term papers, book reports and other forms of student work
• Messaging services-EX: MSN Messenger, ICQ, etc
• Internet/Computer Games
• Use of outside data disks or external attachments without prior approval from the administration
• Changing of iPad settings (exceptions include personal settings such as font size, brightness, etc)
• Downloading apps
• Spamming-Sending mass or inappropriate emails
• Gaining access to other student’s accounts, files, and/or data
• Use of the school’s internet/E-mail accounts for financial or commercial gain or for any illegal activity
• Use of anonymous and/or false communications such as MSN Messenger, Yahoo Messenger
• Students are not allowed to give out personal information, for any reason, over the Internet. This includes, but is not limited to, setting up internet accounts including those necessary for chat rooms, Ebay, email, etc. Participation in credit card fraud, electronic forgery or other forms of illegal behavior.
• Vandalism (any malicious attempt to harm or destroy hardware, software or data, including, but not limited to, the uploading or creation of computer viruses or computer programs that can infiltrate computer systems and/or damage software components) of school equipment will not be allowed
• Transmission or accessing materials that are obscene, offensive, threatening or otherwise intended to harass or demean recipients.
• Bypassing Canyons School District web filter through a web proxy
Legal Propriety
• Comply with trademark and copyright laws and all license agreements. Ignorance of the law is not immunity. If you are unsure, ask a teacher or parent.
• Plagiarism is a violation of the Brighton’s Code of Conduct. Give credit to all sources used, whether quoted or summarized. This includes all forms of media on the Internet, such as graphics, movies, music, and text.
• Use or possession of hacking software is strictly prohibited and violators will be subject to punishment. Violation of applicable state or federal law will result in criminal prosecution or disciplinary action by Canyons School District.
Student Discipline
If a student violates any part of the above policy, he/she will be lose iPad privileges.
iPads Left in Unsupervised Areas
Under no circumstances should iPads be left in unsupervised areas or removed from room 322.
REPAIRING OR REPLACING YOUR iPAD COMPUTER
Students will be held responsible for ALL damage to their iPads including, but not limited to: broken screens, cracked plastic pieces, inoperability, etc. Should the cost to repair exceed the cost of purchasing a new device, the student will pay for full replacement value. Lost items such as covers and cables will be charged the actual replacement cost.
Student Name (Please Print): _____________________________________________________
Student Signature:___________________________________________Date:_______________
Parent Name (Please Print): ______________________________________________________
Parent Signature: ___________________________________________D
Syllabus
English 11b Honors Disclosure
Mrs. Larson
Karen.Larson@canyonsdistrict.org
This course covers grammar and vocabulary study along with selected literature from novel, drama, tragedy, short story, and poetry. Students will write in journals and respond to readings. Emphasis will be on the multi-paragraph writing unit.
Expectations
• Each student is required to bring a steno pad to class every day for journal writing and be prepared with a pencil and pen, paper and material that we are working on in class.
• Cheating, whether on assignments, quizzes, or tests is totally unacceptable. Anyone found cheating will receive no credit. If an assignment has been copied from another student, this will also apply to the person who “lent” the work to the student. All work required for this class is to be done by the student.
• Homework is to be turned in at the beginning of class. Any work not turned in at the proper time is considered late. Work turned in after the deadline will receive half credit, with a full grade mark-down each day after the deadline.
• Please keep all of your graded work until the end of the trimester. If there is an error in a grade, the work will be used to help make the correction.
• No food, pagers, phones, hats, electronics, (iPods, MP3 players, etc.) are allowed in class.
• Any students seen doing work from another class will have that work confiscated and will receive a zero on the English assignment for the day.
• It is expected that all students will treat each other with respect, especially during class discussions. Anyone who shows disrespect to either the teacher or any classmate, either verbally or through physical gestures, will be asked to leave and must resolve the matter with school administration. There will not be any rude, hurtful, harmful comments, nor any swearing, crude language, or anything inappropriate in the classroom.
• Students are allowed to use the hall pass three times a trimester.
• Any student who does not maintain a B- (80%) average will be removed from the Honors program at the end of the trimester.
If you have any problems or concerns, please contact me. I am available before and after school Monday, Tuesday, Thursday and Friday. Please feel free to email me at Karen.Larson@canyonsdistrict.org or call at (801) 826-5800.
Student Materials: Students are required to have a steno pad that is brought to class each day for journal writing. Another requirement is submitting a “marked” book. The book must start clean at the beginning of the unit. Therefore, each student will need to purchase the required reading book (The Great Gatsby). The cost for this book will be $_____________ and will be paid at the main office by ____________.
Grading Policy
In this class, grades are earned by the student, not given by the teacher. Grades are based on in-class work, assignments and homework, quizzes and tests, projects and preparation. Grades are based on the following scale:
94-100% A 83-80% B- 67-69% D+
93-90 A- 79-77 C+ 66-64 D
89-87 B+ 76-74 C 63-69 D-
86-84 B 73-70 C- 59 and below F
50% Assignments 30% Writing 20% In-Class Work
Students and parents can monitor grades and attendance by checking Skyward. Any student who discovers an error on his/her grade when viewing Skyward should speak with me. Mid-term grades will be issued to each student and progress and attendance notices will be sent throughout the trimester as needed.
For questions concerning plagiarism, please see the attached English Department Policy.
Attendance Policy and Make-Up Work
This class follows Brighton High’s attendance policy. As per Brighton High School’s attendance policy, failure to attend class may result in a loss of credit for this course.
After an absence, it is the student’s responsibility to obtain make-up work. All make-up work, including tests and quizzes, must be completed within five days of the absence. Tests and quizzes may need to be made up before or after school.
Occasionally, I will have students in the class correct the work of other students. I will also hang students’ work (poems, projects, etc.) in the classroom. Students will also peer edit each other’s papers. This practice has an important educational purpose in that it allows students to review assignments and consider opinions that may be different than their own.
Videos and Internet
Your signature of the disclosure statement also indicates that you are allowing your student to watch a few PG or PG-13 rated videos in class. If your student does not wish to watch a film, the student will need to make alternate arrangements with me before the class views the film.
At least once during each trimester, there will be Internet work. Parent signature on this form indicates that the student has parental permission to use the Internet in class on classroom assignments.
Please return this portion to the teacher. The signature indicates that you have carefully read the disclosure and are aware of the classroom procedures and policies and realize the resulting consequences. It also gives parental release for your student to view movies and use the Internet.
_____________________________________________________ _____________
Student name—PLEASE PRINT Period
_____________________________________________________ ______________
Parent/guardian signature Date
____________________________________________________
Student signature
Parent/Guardian Contact Information:
Father: Home Phone: Cell: Work:
Email:
Mother: Home Phone: Cell: Work:
Email:
Guardian: Home Phone: Cell: Work:
Email:
Mrs. Larson
Karen.Larson@canyonsdistrict.org
This course covers grammar and vocabulary study along with selected literature from novel, drama, tragedy, short story, and poetry. Students will write in journals and respond to readings. Emphasis will be on the multi-paragraph writing unit.
Expectations
• Each student is required to bring a steno pad to class every day for journal writing and be prepared with a pencil and pen, paper and material that we are working on in class.
• Cheating, whether on assignments, quizzes, or tests is totally unacceptable. Anyone found cheating will receive no credit. If an assignment has been copied from another student, this will also apply to the person who “lent” the work to the student. All work required for this class is to be done by the student.
• Homework is to be turned in at the beginning of class. Any work not turned in at the proper time is considered late. Work turned in after the deadline will receive half credit, with a full grade mark-down each day after the deadline.
• Please keep all of your graded work until the end of the trimester. If there is an error in a grade, the work will be used to help make the correction.
• No food, pagers, phones, hats, electronics, (iPods, MP3 players, etc.) are allowed in class.
• Any students seen doing work from another class will have that work confiscated and will receive a zero on the English assignment for the day.
• It is expected that all students will treat each other with respect, especially during class discussions. Anyone who shows disrespect to either the teacher or any classmate, either verbally or through physical gestures, will be asked to leave and must resolve the matter with school administration. There will not be any rude, hurtful, harmful comments, nor any swearing, crude language, or anything inappropriate in the classroom.
• Students are allowed to use the hall pass three times a trimester.
• Any student who does not maintain a B- (80%) average will be removed from the Honors program at the end of the trimester.
If you have any problems or concerns, please contact me. I am available before and after school Monday, Tuesday, Thursday and Friday. Please feel free to email me at Karen.Larson@canyonsdistrict.org or call at (801) 826-5800.
Student Materials: Students are required to have a steno pad that is brought to class each day for journal writing. Another requirement is submitting a “marked” book. The book must start clean at the beginning of the unit. Therefore, each student will need to purchase the required reading book (The Great Gatsby). The cost for this book will be $_____________ and will be paid at the main office by ____________.
Grading Policy
In this class, grades are earned by the student, not given by the teacher. Grades are based on in-class work, assignments and homework, quizzes and tests, projects and preparation. Grades are based on the following scale:
94-100% A 83-80% B- 67-69% D+
93-90 A- 79-77 C+ 66-64 D
89-87 B+ 76-74 C 63-69 D-
86-84 B 73-70 C- 59 and below F
50% Assignments 30% Writing 20% In-Class Work
Students and parents can monitor grades and attendance by checking Skyward. Any student who discovers an error on his/her grade when viewing Skyward should speak with me. Mid-term grades will be issued to each student and progress and attendance notices will be sent throughout the trimester as needed.
For questions concerning plagiarism, please see the attached English Department Policy.
Attendance Policy and Make-Up Work
This class follows Brighton High’s attendance policy. As per Brighton High School’s attendance policy, failure to attend class may result in a loss of credit for this course.
After an absence, it is the student’s responsibility to obtain make-up work. All make-up work, including tests and quizzes, must be completed within five days of the absence. Tests and quizzes may need to be made up before or after school.
Occasionally, I will have students in the class correct the work of other students. I will also hang students’ work (poems, projects, etc.) in the classroom. Students will also peer edit each other’s papers. This practice has an important educational purpose in that it allows students to review assignments and consider opinions that may be different than their own.
Videos and Internet
Your signature of the disclosure statement also indicates that you are allowing your student to watch a few PG or PG-13 rated videos in class. If your student does not wish to watch a film, the student will need to make alternate arrangements with me before the class views the film.
At least once during each trimester, there will be Internet work. Parent signature on this form indicates that the student has parental permission to use the Internet in class on classroom assignments.
Please return this portion to the teacher. The signature indicates that you have carefully read the disclosure and are aware of the classroom procedures and policies and realize the resulting consequences. It also gives parental release for your student to view movies and use the Internet.
_____________________________________________________ _____________
Student name—PLEASE PRINT Period
_____________________________________________________ ______________
Parent/guardian signature Date
____________________________________________________
Student signature
Parent/Guardian Contact Information:
Father: Home Phone: Cell: Work:
Email:
Mother: Home Phone: Cell: Work:
Email:
Guardian: Home Phone: Cell: Work:
Email:
Subscribe to:
Posts (Atom)