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In 250 words , answer the following
Reflect: After the World War II, the United States embarked on what came to be known as the Cold War against the Soviet Union. Although the two sides never fought against each other directly, the Cold War nonetheless erupted into violence at times in places like Vietnam, Korea, and Afghanistan. Consider the major events of the Cold War and the ways that different presidential administrations reacted to those events. Reflect, too, on the effects of the Cold War on American culture.
Based on information from your textbook and the assigned video, answer the following questions:
- What are two major foreign policy events of the Cold War, and how did the United States address them? What caused these events and how effective were the American responses?
- What were two major changes within American society and culture that were caused by the Cold War? How did the Cold War cause these changes?
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SMC Loren P Q Baybrook Dancing Driftwood an Occurrence at Owl Creek Bridge Essay
GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, "Dancing Driftwood: An Occurrence at Owl Cre ...
SMC Loren P Q Baybrook Dancing Driftwood an Occurrence at Owl Creek Bridge Essay
GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, "Dancing Driftwood: An Occurrence at Owl Creek Bridge" and share your ideas about the criticism in a discussion post (you MUST quote the passage). The post is meant to be a response specifically to THIS CRITICISM. So write at least three full paragraphs [or more if you wish] on this criticism [in relation to the short story] for the full 20 points.GradingClick on the rubric to see how the discussion will be graded.Read the following criticism and post a reply to the threaded discussion.http://www.ambrosebierce.org/journal1baybrook.html (Links to an external site.) DANCING DRIFTWOOD IN "AN OCCURRENCE AT OWL CREEK BRIDGE"AMBROSE BIERCE'S "An Occurrence at Owl Creek Bridge" (1890) depicts the heroic delusions of a citizen saboteur as he is being hanged by the Union army. Peyton Farquhar believes -- as do the readers -- that he has escaped execution and, under heavy gunfire, has made his way back home. But by the end, he is dangling from a rope, his adventure unceremoniously squelched. Bierce does more in this story, however, than play with his readers' assumptions. "Owl Creek Bridge" is also a case study in Farquhar's moral deformity.A generation earlier, Edgar Allan Poe, with whom Bierce is often compared because of their interest in the psychology of the grotesque, had begun to investigate the deformities of self-engrossment, that wayward spirit of independence so determinedly American, like Emerson's glossy and self-reliant Yankee or Dickinson's brooding "Soul" that seals itself up in a vault of its own society. Milton, battling for the character of his own England during civil war, considered narcissism the precursor to anarchy. Satan is indicted in Paradise Lost (1667) as intractably "self-roll'd"; he cannot see beyond himself, a failure that darkens all of hell. Poe translates that hell of narcissism to a pitch-black apartment in which the speaker of "The Tell-Tale Heart" (1843) murders his landlord, whose "evil eye" has "vexed” him. The problem is that the speaker can't shut up. Indeed, having exploded in a confession to the police, the convict now adjures his audience to "Hearken! and observe how healthily -- how calmly I can tell you the whole story." Even as he pleads obsessively to be judged sane, his maniacal focus on the audience's eyes upon him mirrors his previous obsession with his victim's. The madman is continually hanging himself -- and hanging on to himself -- with his tongue. [1] (Links to an external site.)In "Owl Creek Bridge," the protagonist's self-aggrandizing narrative appears, at first, to be perfectly realistic and reasonable. [2] (Links to an external site.) We know Poe's speaker to be mad from the start, but Farquhar seems only to have bitten off more than he could chew -- trying to burn down a bridge used by Union troops -- so we forgive him for his error and indulge his final delusion. Bierce, however, does not. In fact, subtly though not always discreetly, he is hanging him for it. Why? Because Farquhar is an impostor. Genteel southern ideals about noble soldiering -- "the larger life of the soldier, the opportunity for distinction" -- have loomed over Farquhar like father and judge. [3] (Links to an external site.) They have been the vexing eye upon him, despite the absence of any condescension or condemnation from his community. In a bit of narrative reflexivity, Bierce's description of the man mirrors Farquhar's own warring consciousness: praise and sympathy -- Farquhar "was at heart a soldier" -- mixes uneasily with cryptically subversive commentary: "Circumstances of an imperious nature" had kept Farquhar, a well-to-do, politically-connected plantation owner, out of the war, apart from the "gallant" actions of soldiers, immobilized by "inglorious" and "humble" spectating (307). What "imperious" circumstances might prevent a wealthy politician from enlisting? The author's innuendo soon verges on mockery: when the soldier requests water at the house, Mrs. Farquhar, says Bierce, fetches him water "with her own white hands," nobly abasing herself in "aid of the South" (307). But nobility in the Farquhar family is always faintly ridiculous. The "thumbnail burlesque of martial rhetoric," as F. J. Logan describes Farquhar's delusory heroics, is established almost from the beginning of the story. [4] (Links to an external site.) Bierce comments that the patron himself, "without too much qualification," accepted "the frankly villainous dictum that all is fair in love and war" (307).Toward dubious glory, then, as a guerrilla soldier, Farquhar has sought out the "great quantity of driftwood" that the disguised Union scout had told him one could ignite under the strategic Owl Creek Bridge (308). This sabotage will release Farquhar's true "energies," which the "inglorious restraint" of his having escaped -- perhaps dodged -- the Civil War has thus far suppressed (307). These supposed "energies" thus become the very substance of his fantasy escape. When Farquhar is hanged, his senses, like those of Poe's narrator, expand and deepen to become "preternaturally keen and alert"; they are "exalted and refined," recording phenomena "never before perceived" (309). Farquhar notes the minutest sensuous details of his surroundings and acquires astounding abilities, dodging and deflecting bullets ("Some of them touched him on the face and hands, then fell away" [311]), shrewdly calculating the timing and trajectory of cannon fire, and noting arcane military tactics. Farquhar has finally become a heroic soldier, "himself the pivotal point" (310).Most readers grow suspicious by the time Farquhar cries, "God help me, I cannot dodge them all!" (311) -- a point that confirms the fantastic nature of his escape even as it foreshadows its collapse. Having fled the river and arrived at the street leading home, Farquhar hears "whispers in an unknown tongue" (312), and at that word -- "tongue" -- Bierce returns his protagonist to the reality of his hanging, contracting the play of Farquhar's preternatural senses to the image of his tongue swelling and thrusting forward. The strange "whispers" he had been hearing were, in the clinical perspective of asphyxiation, the gasps emanating from that same tongue. Farquhar is literally choking on his own tale.Farquhar's demise has come not through a beating heart, the "tell" convulsing in Poe's madman, but through eyes that bulge and cannot close and through a tongue that whispers a tale of vanity. Why is Bierce so unyielding here? Perhaps because Farquhar's vanity is deeper than we suspect. Back on the bridge, awaiting his execution, Farquhar was given one final moment to consider his moral plight -- perhaps to focus on the family he had abandoned for his warrior's adventure: "He closed his eyes in order to fix his last thoughts upon his wife and children" (306). But this narration actually occurs from within the fantasy already begun. His "last thoughts" before hanging were not of his family at all. On the bridge, having noted the swiftness of the stream's current, Farquhar has observed a pivotal object floating upon it. This is the "tell" Bierce gives us. Time and space are suddenly altered, and Farquhar thinks, "What a sluggish stream!" (306). His dream begins, perhaps before the hanging itself commences. Fittingly, the object floating down the stream is a "piece of dancing driftwood" (306), the very same driftwood that, had he succeeded at burning it, would have served as the crowning instrument of his heroism. Torching that driftwood would have rescued Farquhar from a life of indistinction, illuminating the gallant knight of the Confederacy. In this moment of willful misperception, however, the man's character turns grotesquely inward, toward a final self-absorption and delusion. Everything after that point is dancing driftwood, the idealized story of heroic piety. Farquhar thus adopts the stock portrait of the chivalrous southern soldier, the fearless patriot who, dwelling faithfully on wife and children, faces death with stoic endurance -- and he rewards himself with a perilous escape.Apart from the question of why -- and when -- Farquhar enters this fantasy, Bierce's story would amount to little more than an entertaining gimmick. But the driftwood becomes a metaphor for Farquhar himself. Like Poe's insane narrator, Farquhar needs eyes upon him (a visual motif continued by the "Owl" moniker), so, upon his demise, he retreats not merely to southern pieties about caste and chivalry, which his and his wife's "white hands" have exploited, but to the private vanity he has kindled from them. [5] (Links to an external site.) His enthrallment with the driftwood, fantastically distorting his perception of time and space, pre-empts any final reconnection to his life in a real world. This is Bierce's most concentrated realism, unmasking the vainglory and personal arrogance of a Romantic culture.Unlike Poe's narrator, Farquhar becomes his own vulturous eye, simultaneously judging and exalting himself. As hero manqué, his self-image is concocted not for his country or his family but wholly for reflection of himself. The Union soldier, for example, who, on the bridge, fires at Farquhar, has gray eyes not simply because such eyes, which Farquhar believes to be the "keenest," increase the risk to him, nor simply because Confederate soldiers wear "gray" uniforms (310); the soldier has gray eyes because Farquhar's own eyes are "large and dark gray" and must therefore be equally keen (306). [6] (Links to an external site.) Farquhar is populating his world with his own eyes. This mirror vision, like a Lacanian double, confirms his ideal stature within the fantasy. So he becomes his own seer, watching himself serve valiantly on both sides. Bierce hints at this conflation by referring to both players anonymously, as the "man": "The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle" (310). With his gray eye looking squarely at himself and with his mind's eye stuck fatally on the dancing driftwood, Farquhar never leaves the world to which his vanity has led him.Bierce allows his readers to believe in Farquhar’s fantasy because it builds on sentimental conventions about war, in which glory is a flash of fire away. And southern military idealism is archetypal because it evokes ancient European chivalric codes. Poe diagnoses the narcissism at the root of evil, but Bierce, if only briefly and cryptically, applies Poe's insight to an entire culture. From beginning to end, the man of driftwood, dead inside already, floats on a romantic dream, lost in the imagined blaze of himself. Repentance, reflection, confession, moral protestation, love of friends or family or children -- these are all just props in the narcissistic dance. So Bierce chokes his protagonist's grandiose fantasy back down into the proportions of a footnote, a meager "occurrence" in which a minor bridge survives a vain and inglorious man.
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What were the benefits and losses of this "great fear" on American culture? Students must ensure that all assignments are typed or word-processed. Each essay should answer a question chosen from the list provided in the Course Reader. Essays should be 1500 to 2000 words in length (footnotes are included, but bibliography is not included in the word count).The bibliography must contain a minimum of six items and should normally include: works from the course reader, the set texts, and at least one primary source. Essays with a weak bibliography will be penalized. Essays without footnotes and a bibliography will earn an automatic fail mark.The final word count includes footnotes but excludes the bibliography. Students need to adhere to the world limit for each assignment and each piece of written work is to be submitted with a clear indication of the word count.CriteriaRatingsPtsThis criterion is linked to a Learning OutcomeCritical ThinkingStudents will make a historical argument based on the use of a combination of the following: primary sources, secondary sources, class lectures.Students will prove the argument with the use of the evidence above.25.0 ptsEXCELLENTMakes an original argument and provides proof in a skillful and creative fashion.20.0 ptsVERY GOODPresents an argument of high quality and provides evidence to reinforce the case being made.10.0 ptsGOODMakes a satisfactory argument and provides adequate proof.5.0 ptsCOMPETENTShows some knowledge and understanding, but with deficiencies serious enough to suggest that grasp of the subject matter and of historical analysis is limited.0.0 ptsUNSATISFACTORYFails to make and prove a historical argument. Work displaying only minimal knowledge and understanding, failing to address the literature in depth and with a weak grasp of the subject matter and historical analysis.25.0 ptsThis criterion is linked to a Learning OutcomeWritten CommunicationStudents will write a paper that has a clear thesis, evidence organized into logical paragraphs, and a conclusion.Students will submit a paper that demonstrates the ability to use English for written expression at the college level.25.0 ptsEXCELLENTShows great command of organization and evinces a high ability in written expression.20.0 ptsVERY GOODClarity in structure, analysis, and style. Shows a clear sense of written organization and expression.10.0 ptsGOODGood engagement with essay question, but with limitations in matters such as depth, clarity, rigor of argument and structure; limitations in style and expression.5.0 ptsCOMPETENTLimited engagement with the essay question. Grammatical and typographical errors.0.0 ptsUNSATISFACTORYLacking in both writing and organization. Work so weak as to indicate that only a nominal attempt has been made to complete the assignment. Poor grammar and awkward phrasing.25.0 ptsThis criterion is linked to a Learning OutcomeContent/Discipline KnowledgeStudents will demonstrate an understanding of the culture, events, and ideas of past and present civilizations.Students will demonstrate an understanding of historical context.25.0 ptsEXCELLENTShows an excellent and in-depth understanding of past events cultures, and ideas and situates these within larger contexts.20.0 ptsVERY GOODDemonstrates a keen awareness of past events, cultures, and ideas in their greater contexts.10.0 ptsGOODSatisfactory understanding of past events, cultures, and ideas in their larger contexts.5.0 ptsCOMPETENTDemonstrates some understanding of past events, cultures and ideas in their broader contexts.0.0 ptsUNSATISFACTORYLacks an understanding of past events, cultures, and ideas in their broader contexts. Displays almost total confusion and misunderstanding of the subject.25.0 ptsThis criterion is linked to a Learning OutcomeRange of SourcesStudents will demonstrate research proficiency through the utilization of high caliber primary and secondary source material.Students will satisfy the minimum requirement of 6 sources.15.0 ptsEXCELLENTWide range of excellent sources utilized; reading beyond recommended minimum.11.25 ptsVERY GOODBroad range of source material, demonstrating historiographical awareness.7.5 ptsGOODGood work, reasonable in such matters as comprehensiveness and scope of research.3.75 ptsCOMPETENTInsufficient research. Use of questionable and/or low-quality source material.0.0 ptsUNSATISFACTORYDemonstrates research deficiencies for a college writing assignment. Bare minimum of sources utilized.15.0 ptsThis criterion is linked to a Learning OutcomeFootnotes & BibliographyStudents will demonstrate correct citation formatting practices e.g. Chicago Style and Footnotes.10.0 ptsEXCELLENTExcellent formatting and well-presented footnotes & bibliography.7.5 ptsVERY GOODGreat formatting with minor errors in bibliography and/or footnotes.5.0 ptsGOODA few errors present, but acceptable formatting of footnotes and bibliography.2.5 ptsCOMPETENTInadequate or unsystematic formatting of the bibliography and/or footnotes.0.0 ptsUNSATISFACTORYDemonstrates incorrect or messy formatting of the bibliography and/or footnotes.10.0 ptsTotal Points: 100.0
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SMC Loren P Q Baybrook Dancing Driftwood an Occurrence at Owl Creek Bridge Essay
GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, "Dancing Driftwood: An Occurrence at Owl Cre ...
SMC Loren P Q Baybrook Dancing Driftwood an Occurrence at Owl Creek Bridge Essay
GoalOpinion/AssertionPostRead the criticism in this module [below], entitled, "Dancing Driftwood: An Occurrence at Owl Creek Bridge" and share your ideas about the criticism in a discussion post (you MUST quote the passage). The post is meant to be a response specifically to THIS CRITICISM. So write at least three full paragraphs [or more if you wish] on this criticism [in relation to the short story] for the full 20 points.GradingClick on the rubric to see how the discussion will be graded.Read the following criticism and post a reply to the threaded discussion.http://www.ambrosebierce.org/journal1baybrook.html (Links to an external site.) DANCING DRIFTWOOD IN "AN OCCURRENCE AT OWL CREEK BRIDGE"AMBROSE BIERCE'S "An Occurrence at Owl Creek Bridge" (1890) depicts the heroic delusions of a citizen saboteur as he is being hanged by the Union army. Peyton Farquhar believes -- as do the readers -- that he has escaped execution and, under heavy gunfire, has made his way back home. But by the end, he is dangling from a rope, his adventure unceremoniously squelched. Bierce does more in this story, however, than play with his readers' assumptions. "Owl Creek Bridge" is also a case study in Farquhar's moral deformity.A generation earlier, Edgar Allan Poe, with whom Bierce is often compared because of their interest in the psychology of the grotesque, had begun to investigate the deformities of self-engrossment, that wayward spirit of independence so determinedly American, like Emerson's glossy and self-reliant Yankee or Dickinson's brooding "Soul" that seals itself up in a vault of its own society. Milton, battling for the character of his own England during civil war, considered narcissism the precursor to anarchy. Satan is indicted in Paradise Lost (1667) as intractably "self-roll'd"; he cannot see beyond himself, a failure that darkens all of hell. Poe translates that hell of narcissism to a pitch-black apartment in which the speaker of "The Tell-Tale Heart" (1843) murders his landlord, whose "evil eye" has "vexed” him. The problem is that the speaker can't shut up. Indeed, having exploded in a confession to the police, the convict now adjures his audience to "Hearken! and observe how healthily -- how calmly I can tell you the whole story." Even as he pleads obsessively to be judged sane, his maniacal focus on the audience's eyes upon him mirrors his previous obsession with his victim's. The madman is continually hanging himself -- and hanging on to himself -- with his tongue. [1] (Links to an external site.)In "Owl Creek Bridge," the protagonist's self-aggrandizing narrative appears, at first, to be perfectly realistic and reasonable. [2] (Links to an external site.) We know Poe's speaker to be mad from the start, but Farquhar seems only to have bitten off more than he could chew -- trying to burn down a bridge used by Union troops -- so we forgive him for his error and indulge his final delusion. Bierce, however, does not. In fact, subtly though not always discreetly, he is hanging him for it. Why? Because Farquhar is an impostor. Genteel southern ideals about noble soldiering -- "the larger life of the soldier, the opportunity for distinction" -- have loomed over Farquhar like father and judge. [3] (Links to an external site.) They have been the vexing eye upon him, despite the absence of any condescension or condemnation from his community. In a bit of narrative reflexivity, Bierce's description of the man mirrors Farquhar's own warring consciousness: praise and sympathy -- Farquhar "was at heart a soldier" -- mixes uneasily with cryptically subversive commentary: "Circumstances of an imperious nature" had kept Farquhar, a well-to-do, politically-connected plantation owner, out of the war, apart from the "gallant" actions of soldiers, immobilized by "inglorious" and "humble" spectating (307). What "imperious" circumstances might prevent a wealthy politician from enlisting? The author's innuendo soon verges on mockery: when the soldier requests water at the house, Mrs. Farquhar, says Bierce, fetches him water "with her own white hands," nobly abasing herself in "aid of the South" (307). But nobility in the Farquhar family is always faintly ridiculous. The "thumbnail burlesque of martial rhetoric," as F. J. Logan describes Farquhar's delusory heroics, is established almost from the beginning of the story. [4] (Links to an external site.) Bierce comments that the patron himself, "without too much qualification," accepted "the frankly villainous dictum that all is fair in love and war" (307).Toward dubious glory, then, as a guerrilla soldier, Farquhar has sought out the "great quantity of driftwood" that the disguised Union scout had told him one could ignite under the strategic Owl Creek Bridge (308). This sabotage will release Farquhar's true "energies," which the "inglorious restraint" of his having escaped -- perhaps dodged -- the Civil War has thus far suppressed (307). These supposed "energies" thus become the very substance of his fantasy escape. When Farquhar is hanged, his senses, like those of Poe's narrator, expand and deepen to become "preternaturally keen and alert"; they are "exalted and refined," recording phenomena "never before perceived" (309). Farquhar notes the minutest sensuous details of his surroundings and acquires astounding abilities, dodging and deflecting bullets ("Some of them touched him on the face and hands, then fell away" [311]), shrewdly calculating the timing and trajectory of cannon fire, and noting arcane military tactics. Farquhar has finally become a heroic soldier, "himself the pivotal point" (310).Most readers grow suspicious by the time Farquhar cries, "God help me, I cannot dodge them all!" (311) -- a point that confirms the fantastic nature of his escape even as it foreshadows its collapse. Having fled the river and arrived at the street leading home, Farquhar hears "whispers in an unknown tongue" (312), and at that word -- "tongue" -- Bierce returns his protagonist to the reality of his hanging, contracting the play of Farquhar's preternatural senses to the image of his tongue swelling and thrusting forward. The strange "whispers" he had been hearing were, in the clinical perspective of asphyxiation, the gasps emanating from that same tongue. Farquhar is literally choking on his own tale.Farquhar's demise has come not through a beating heart, the "tell" convulsing in Poe's madman, but through eyes that bulge and cannot close and through a tongue that whispers a tale of vanity. Why is Bierce so unyielding here? Perhaps because Farquhar's vanity is deeper than we suspect. Back on the bridge, awaiting his execution, Farquhar was given one final moment to consider his moral plight -- perhaps to focus on the family he had abandoned for his warrior's adventure: "He closed his eyes in order to fix his last thoughts upon his wife and children" (306). But this narration actually occurs from within the fantasy already begun. His "last thoughts" before hanging were not of his family at all. On the bridge, having noted the swiftness of the stream's current, Farquhar has observed a pivotal object floating upon it. This is the "tell" Bierce gives us. Time and space are suddenly altered, and Farquhar thinks, "What a sluggish stream!" (306). His dream begins, perhaps before the hanging itself commences. Fittingly, the object floating down the stream is a "piece of dancing driftwood" (306), the very same driftwood that, had he succeeded at burning it, would have served as the crowning instrument of his heroism. Torching that driftwood would have rescued Farquhar from a life of indistinction, illuminating the gallant knight of the Confederacy. In this moment of willful misperception, however, the man's character turns grotesquely inward, toward a final self-absorption and delusion. Everything after that point is dancing driftwood, the idealized story of heroic piety. Farquhar thus adopts the stock portrait of the chivalrous southern soldier, the fearless patriot who, dwelling faithfully on wife and children, faces death with stoic endurance -- and he rewards himself with a perilous escape.Apart from the question of why -- and when -- Farquhar enters this fantasy, Bierce's story would amount to little more than an entertaining gimmick. But the driftwood becomes a metaphor for Farquhar himself. Like Poe's insane narrator, Farquhar needs eyes upon him (a visual motif continued by the "Owl" moniker), so, upon his demise, he retreats not merely to southern pieties about caste and chivalry, which his and his wife's "white hands" have exploited, but to the private vanity he has kindled from them. [5] (Links to an external site.) His enthrallment with the driftwood, fantastically distorting his perception of time and space, pre-empts any final reconnection to his life in a real world. This is Bierce's most concentrated realism, unmasking the vainglory and personal arrogance of a Romantic culture.Unlike Poe's narrator, Farquhar becomes his own vulturous eye, simultaneously judging and exalting himself. As hero manqué, his self-image is concocted not for his country or his family but wholly for reflection of himself. The Union soldier, for example, who, on the bridge, fires at Farquhar, has gray eyes not simply because such eyes, which Farquhar believes to be the "keenest," increase the risk to him, nor simply because Confederate soldiers wear "gray" uniforms (310); the soldier has gray eyes because Farquhar's own eyes are "large and dark gray" and must therefore be equally keen (306). [6] (Links to an external site.) Farquhar is populating his world with his own eyes. This mirror vision, like a Lacanian double, confirms his ideal stature within the fantasy. So he becomes his own seer, watching himself serve valiantly on both sides. Bierce hints at this conflation by referring to both players anonymously, as the "man": "The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle" (310). With his gray eye looking squarely at himself and with his mind's eye stuck fatally on the dancing driftwood, Farquhar never leaves the world to which his vanity has led him.Bierce allows his readers to believe in Farquhar’s fantasy because it builds on sentimental conventions about war, in which glory is a flash of fire away. And southern military idealism is archetypal because it evokes ancient European chivalric codes. Poe diagnoses the narcissism at the root of evil, but Bierce, if only briefly and cryptically, applies Poe's insight to an entire culture. From beginning to end, the man of driftwood, dead inside already, floats on a romantic dream, lost in the imagined blaze of himself. Repentance, reflection, confession, moral protestation, love of friends or family or children -- these are all just props in the narcissistic dance. So Bierce chokes his protagonist's grandiose fantasy back down into the proportions of a footnote, a meager "occurrence" in which a minor bridge survives a vain and inglorious man.
Mortin College When Brothers Share A Wife Article Questions
QUESTIONS: 1. What is fraternal polyandry (1 pt)?2. In which (or who's) residence do the spouses live after marriage (1 pt ...
Mortin College When Brothers Share A Wife Article Questions
QUESTIONS: 1. What is fraternal polyandry (1 pt)?2. In which (or who's) residence do the spouses live after marriage (1 pt)?3. Considering the paternity and role of fatherhood that exists for the children of this type of marriage, explain which kinship classification system do you think is most representative of the family arrangement? (1 pt)? 4. Explain how this kinship inheritance system is similar to primogeniture in 19th century England (1 pt)?5. What is corvee labor? (1 pts)?6. How does Dorje's bride feel about faternal polyandry? What potential benefit does she say? (1 pt)Two reasons have commonly been offered for the perpetuation of fraternal polyandry in Tibet. What is the economic/inheritance rationale? Recall two explanations given that the article argues are false and two alternative explanations that the article argues are true (1 pt each = 4 pts total) False Explanations 7. 8. True Explanations 9. 10.Goldstein_When Brothers Share A Wife.pdfquestions Arranged marriage, love marriage, cousin marriage, endogamy, exogamy, there are many different ways cultures have regulated marriageWhich economic factors affect (or affected) your decision to get married? (economic means material, or practical, not religious)Investigate a different marriage system (from lecture or your own research) from the type you are familiar with, or want for yourself, and explain what you think could be the benefit(s) of that system .
FIU AMH 2020 Week 2 America in the Vietnam War Global Perspective Essay
ESSAY II: GLOBAL PERSPECTIVE (Choose One)1.The "Jazz Age," the "Roaring Twenties," the "Turbulent Twenties," and ...
FIU AMH 2020 Week 2 America in the Vietnam War Global Perspective Essay
ESSAY II: GLOBAL PERSPECTIVE (Choose One)1.The "Jazz Age," the "Roaring Twenties," the "Turbulent Twenties," and the "Dollar Decade" all describe the decade of the 1920s. Which label, in your opinion, is most accurate? Justify your answer in an essay describing the decade's major events and problems. 2.The actions of African-American civil rights activists had a broader effect on activists for other minorities. Agree or disagree. Explain your answer with examples. 3.What role, if any, did the notion of a "balance of power" playin the international relations of a period you have studied? Explain your answer. 4.From your readings on the Vietnam War, evaluate the American role in Vietnam from 1961 to 1975. Was the United States able to fulfill its objectives? 5.The cold war had profound implications for U.S. domestic policy and culture. Discuss the ways in which heightened tension with the Soviet Union influenced America's national scene from 1945 to 1989. What were the benefits and losses of this "great fear" on American culture? Students must ensure that all assignments are typed or word-processed. Each essay should answer a question chosen from the list provided in the Course Reader. Essays should be 1500 to 2000 words in length (footnotes are included, but bibliography is not included in the word count).The bibliography must contain a minimum of six items and should normally include: works from the course reader, the set texts, and at least one primary source. Essays with a weak bibliography will be penalized. Essays without footnotes and a bibliography will earn an automatic fail mark.The final word count includes footnotes but excludes the bibliography. Students need to adhere to the world limit for each assignment and each piece of written work is to be submitted with a clear indication of the word count.CriteriaRatingsPtsThis criterion is linked to a Learning OutcomeCritical ThinkingStudents will make a historical argument based on the use of a combination of the following: primary sources, secondary sources, class lectures.Students will prove the argument with the use of the evidence above.25.0 ptsEXCELLENTMakes an original argument and provides proof in a skillful and creative fashion.20.0 ptsVERY GOODPresents an argument of high quality and provides evidence to reinforce the case being made.10.0 ptsGOODMakes a satisfactory argument and provides adequate proof.5.0 ptsCOMPETENTShows some knowledge and understanding, but with deficiencies serious enough to suggest that grasp of the subject matter and of historical analysis is limited.0.0 ptsUNSATISFACTORYFails to make and prove a historical argument. Work displaying only minimal knowledge and understanding, failing to address the literature in depth and with a weak grasp of the subject matter and historical analysis.25.0 ptsThis criterion is linked to a Learning OutcomeWritten CommunicationStudents will write a paper that has a clear thesis, evidence organized into logical paragraphs, and a conclusion.Students will submit a paper that demonstrates the ability to use English for written expression at the college level.25.0 ptsEXCELLENTShows great command of organization and evinces a high ability in written expression.20.0 ptsVERY GOODClarity in structure, analysis, and style. Shows a clear sense of written organization and expression.10.0 ptsGOODGood engagement with essay question, but with limitations in matters such as depth, clarity, rigor of argument and structure; limitations in style and expression.5.0 ptsCOMPETENTLimited engagement with the essay question. Grammatical and typographical errors.0.0 ptsUNSATISFACTORYLacking in both writing and organization. Work so weak as to indicate that only a nominal attempt has been made to complete the assignment. Poor grammar and awkward phrasing.25.0 ptsThis criterion is linked to a Learning OutcomeContent/Discipline KnowledgeStudents will demonstrate an understanding of the culture, events, and ideas of past and present civilizations.Students will demonstrate an understanding of historical context.25.0 ptsEXCELLENTShows an excellent and in-depth understanding of past events cultures, and ideas and situates these within larger contexts.20.0 ptsVERY GOODDemonstrates a keen awareness of past events, cultures, and ideas in their greater contexts.10.0 ptsGOODSatisfactory understanding of past events, cultures, and ideas in their larger contexts.5.0 ptsCOMPETENTDemonstrates some understanding of past events, cultures and ideas in their broader contexts.0.0 ptsUNSATISFACTORYLacks an understanding of past events, cultures, and ideas in their broader contexts. Displays almost total confusion and misunderstanding of the subject.25.0 ptsThis criterion is linked to a Learning OutcomeRange of SourcesStudents will demonstrate research proficiency through the utilization of high caliber primary and secondary source material.Students will satisfy the minimum requirement of 6 sources.15.0 ptsEXCELLENTWide range of excellent sources utilized; reading beyond recommended minimum.11.25 ptsVERY GOODBroad range of source material, demonstrating historiographical awareness.7.5 ptsGOODGood work, reasonable in such matters as comprehensiveness and scope of research.3.75 ptsCOMPETENTInsufficient research. Use of questionable and/or low-quality source material.0.0 ptsUNSATISFACTORYDemonstrates research deficiencies for a college writing assignment. Bare minimum of sources utilized.15.0 ptsThis criterion is linked to a Learning OutcomeFootnotes & BibliographyStudents will demonstrate correct citation formatting practices e.g. Chicago Style and Footnotes.10.0 ptsEXCELLENTExcellent formatting and well-presented footnotes & bibliography.7.5 ptsVERY GOODGreat formatting with minor errors in bibliography and/or footnotes.5.0 ptsGOODA few errors present, but acceptable formatting of footnotes and bibliography.2.5 ptsCOMPETENTInadequate or unsystematic formatting of the bibliography and/or footnotes.0.0 ptsUNSATISFACTORYDemonstrates incorrect or messy formatting of the bibliography and/or footnotes.10.0 ptsTotal Points: 100.0
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Article Summary
Social norms and the expression of prejudice: The development of aversive racism in childhood The global values regarding ...
Article Summary
Social norms and the expression of prejudice: The development of aversive racism in childhood The global values regarding human rights have made ...
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