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
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