The Opiate of the people ( Lynne Sharon Schwartz )

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Humanities

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Write 3-4 pages addressing the following questions:

- Who is this character? Is s/he a first-generation immigrant (born in another country) or a second-generation immigrant (born in the United States to immigrant parents)? What are his/her most important character traits? What scenes in the story demonstrate these traits?

- Is this character and his/her experience representative of his/her ethnic group of immigrants in America, based on the information in the story? That is, does this character experience similar things as others in his/her ethnic group, or does s/he have a unique experience? Why or why not?

- How does this immigrant see America? And how does America view this immigrant? Give an example or two from the story.

- What does “the American dream” mean to this immigrant? Does s/he attain the life or qualities of life inherent in the American dream? Why or why not?

NOTE: It is not necessary to give a complete plot summary. Use plot details only to support the points you make. You may assume we are familiar with the story and do not need to hear a recap.

Basic Requirements:

- A minimum of three full pages of writing
- Your name and page numbers at the top of each page in the header position
- A creative and informative title (make sure to include the story’s author and title in your title)
- Proper use of grammar and punctuation
- No larger than a 12 point font
- An introduction and conclusion
- Direct quotations from the text should be enclosed in quotation marks and following by parentheses containing the author’s last name and the page number from which the quotation is taken. “Here is an example” (Field 1). (Notice that the period comes after the parentheses.)

- Absolutely no plagiarism! Any instance of plagiarism will result in no credit granted for this paper. All sources other than the story itself should be cited parenthetically and in a bibliography.


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THE OPIATE OF THE PEOPLE Lynne Sharon Schwartz DAVID, WHEN HE WAS FEELING HAPPY, USED TO DANCE FOR HIS children. The war was over, the Germans defeated. Once again he pranced across the living room raising his knees high in an absurd parody all his own, blending a horse's gallop and a Parisian cancan. Lucy, his youngest, would laugh in a high-pitched delighted giggle—David looked so funny dancing in his baggy gray trousers and long-sleeved white shirt with the loosened tie jerking from side to side. His business clothes. He wore them all the time, even at night after dinner. Sometimes at breakfast he wore his jacket too, as he stood tense near the kitchen sink, swallowing orange juice and toast and coffee, briefcase waiting erect at his feet. When he stopped dancing he would smooth down his wavy dark hair mod- estly and catch his breath. “You like that, eh?” Lucy was six. She wanted her father never out of her sight. She felt complete only when he was present. “Yes. But why can't we have a Christmas tree?" 175 NO Imagining America: Stories from the Promised Land. Eds. Wesley Brown and Amy Ling. New York: Persea, 1991. 176 IMAGINING AMERICA Lucy was eleven. They had a large family with many cousins, nearly all older than she was, and always getting married. At the big weddings the band music was loud and ceaseless. After the fruit cup and the first toast to the newlyweds, at some point during the soup, the popular dance tunes would give way to a rapping syncopated rhythm with the pungency of garlic and the ringing tone of a shout or a slap. The grown-ups leaped away from their bowls to form circle within circle, holding hands. Anna, Lucy's mother, was a leader. She was heavy, but moved nimbly. Her head would bounce up and down to the music as she pulled a line of dancers under a bridge of arms. "You can do it too, Lucy," she called out. "Come on.” And the circle opened, hands parted to let her in. David did not dance these dances. She saw him at the edge of the circle, his tie neatly knotted, observing keenly, lighting an olive-colored cigar. He waltzed. He waltzed with her mother, the two of them floating with stiff, poignant grace. His face, sharp-boned, alert, was tilted up proudly, his hand spread out flat against Anna's broad back. "But why," Lucy asked, "can't we have a Christmas tree?" “Don't you know yet?" He was annoyed with her. "It's not our holiday.” “I know, but it doesn't really mean anything,” she protested, leaning for- ward against the front seat of the car, flushed with the champagne they had let her taste. "It's only a symbol." She could see the edge of his smile and knew he was smiling because she had used the word “symbol.” She felt clever to have charmed away his annoyance. In the morning she accosted Anna. “Why is he so against it?" Anna did not turn to face her. She was putting on mascara in front of the mirror, and the tiny brush she held near her eyes looked like a flag. “Because they made him wear a yellow arm band when he went to school.” “But ..." Lucy said. These bizarre facts tossed out at chance intervals made her feel another world, a shadow world, existed at the rim of their own. "But that was in another country." "It makes no difference. The tree is the same." She grasped that David was keeping something back from her, something that touched herself as well as him. "What was it like when you were growing up?" "We were poor," he said. "We worked, we studied. We lived where your grandmother used to live. It was very crowded.” "No, I mean before that. Before you came here." She whispered the last words shyly, for fear of somehow embarrassing him.
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Running Header: UTILITY CONCEPT

Bentham’s Utility Concept
Institutional Affiliation
Date
20th August 2017

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UTILITY CONCEPT

Utilitarian use the utilitarianism theory which states that an action only becomes
consequent if it produces either negative or positive effects. In Bentham's view, the right actions
are the ones that produce the highest amounts of pleasure worldwide when engaged. Therefore he
bases the standards of right or wrong are based on the amounts o...


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