30 April 2015
Evaluating a Scholarly Source
I am going to evaluate the scholarly paper that Northern Kentucky’s own professor Jonathan S. Cullick has written about the book called The Turner Diaries written by William Luther Pierce. To summaries Cullick’s written work. He has a complaint about this book being called a work of fiction, not because it is a super racist and anti-government book, but he is saying that the book cannot be called fiction, because the main character or the narrator voice in the book is not truly a character. Cullick talks about how this fictional novel went to court because it was more like a blueprint for terroristic acts such as the Oklahoma City Bombing. In this piece I think Cullick is trying to show us what is not technically considered a fictional novel. Cullick shows this by bring up statements made, by what would be perceived as normally non-racist people of this world giving reviews of this book. As well he shows his own literary beliefs, on why this is not to him technically a book. In the begging Cullick uses past trail cases to show what The Turners Diaries have done to the American society, “King chained Byrd’s ankles to his pick-up truck and dragged him, he clumsily joked,“ We’re starting The Turner Diaries early.” (Duggan A05). He then talks about how the Turner Diaries was a word of mouth book at first and considered “the bible” of these neo-Nazi militia groups. Cullick then begins to
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The Fires of Jubilee, by Stephen B. Oates, tells an account of Nat Turner’s rebellion. Beginning with Nat’s early life and finally ending with the legacy his execution left the world, Oates paints a historical rending of those fateful days. The Confessions of Nat Turner by Thomas R. Gray and approved by Nat himself is among Oates’ chief sources. Oates is known as a reputable historian through his other works, and has strong credentials however, in the case of The Fires of Jubilee there are some limitations. It is, therefore, worth analyzing Oates’ interpretation for reliability. In doing so one sees that The Fires of Jubilee, because of its weak use of citations, failure to alert the audience of assumed details and the way in which
In the words of Miss Ida B. Wells: The student of American sociology will find the year of 1894 marked by a pronounced awakening of the public conscience to a system of anarchy and outlawry which had grown during a series of ten years to be so common, that scenes of unusual brutality failed to have any visible effect upon the humane sentiments of the people of our land. She is depicting a period of time in American history stained with the blood of hundreds of free African American men, women and children. These people were unjustly slaughtered through the practice of lynching within the South. Wells was an investigative journalist and was involved in exploring, reporting, publishing literature on, and eventually campaigning against the
"In his new young adult book on the Kennedy assassination, James Swanson will transport readers back to one of the most shocking, sad, and terrifying events in American history. With an unprecedented eye for dramatic details and impeccable historical accuracy -- to tell the story of the JFK assassination as it has never been told before. " J.F.K. is shot. The country is in shock. The world will never be the same. This is the story found in the book, "The President has Been Shot" by James L. Swanson. The book "The President Has Been Shot", by James L. Swanson, is a great example of the genre historical non-fiction because, it has all the characteristics of the genre including the people, events and places presented in the book are real, the narrator of the book is a real person, it was written for a specific audience, or group of readers.
Have you faced racial persecution due to the color of your skin? The time was 1900’s and this was the nightmare that Ida B. Wells-Barnett wrote of in Mob Rule in New Orleans. This is the true account of Robert Charles as he fights for his life to escape the hands of a lynching mob. This impassion story collaborates with the witness of this terrifying event that Wells describes. Wells uses her literary skills to shed light on racial discrimination, media bias, and her personal crusade for justice to portray this heart wrenching reality of the violent lynching during the 19th century.
Proposition(s) centered around body of works authored by African Americans often fluctuate with the social stratification of its people. The writing is not stagnant bound to warranted eons, but fluid with time, as generally as any other form of literature. In other words, African American writing tends to reflect that of the current society they are subjected to, among a number of other conditions. In the 1800's, prior to the dawning of the Civil War, Black publication, in its diminutive amount, consisted roughly of memoirs, of which recounted the perils of slavery and the bliss circumvention, in turn, creating the earliest form of Black literature, slave narratives. In their own time and thereafter, said narratives have been the object of much scrutiny of both damning and plauditory natures. The authors of the works serve as no exception to such, considering each have received perlustration from their kinsmen and their counterparts, alike. Phillis Wheatley, Olaudah Equiano, and Frederick Douglass are examples of said Black authors, being that all have been accused of spiritually fleeing their race and relinquishing their “Black” identity.
Literature is a big part of all cultures. People acquire a vast amount of information from what is being read. The way they are written and the people who wrote them can change the manner in which values are being seen. Every culture and race is unique it includes language, art, rituals, beliefs plus a great deal more. With all the different race and cultures in the country, it has shaped the American perception and identity. When a person of a certain ethnic background, gender, sexual preference, even religious view writes it is only natural for their heritage, culture and racial influence to be present. This is what makes the work powerful. As in that of Claude McKay, because of him being an African American writer his work offers a new method of considering and appreciating what it entailed to be of a certain race or gender. Showing how culture and race affect the overall meaning in his writing.
Wells,“Lynch Law in America,”) Over a hundred of African Americans were lynched every year. The unwritten law was practiced for thirty years, inhumanly butchering thousands of men, women, children by either drowning, hanging, shooting, and burning them alive. By this point, the national law was irrelevant and the unwritten law was superior among the southern states. With every killing, white Americans would invent an excuse accordingly and to make matters worse, they realized it was sufficient to put anyone to death if the crime was against a woman, no matter if it were true or not, since it was under the unwritten law, which did not allow any sort of trial. This accusation was done in “the interest of those who did the lynching to blacken the good name of the helpless and defenseless victims of their hate. For this reason they publish at every possible opportunity this excuse for lynching, hoping thereby not only to palliate their own crime but at the same time to prove the negro a moral monster and unworthy of the respect and sympathy
Was the Japanese internment an act of justice or an act of cruel severity. The main motivation for Japanese internment was concerns about national security threats.
The lynching of Mary Turner is quite similar to the one Mame Lamkins experiences in “Kabnis.” There were mere changes Toomer did in retelling the Turner’s story, such as the “baby being impaled to a tree rather than ground underfoot (161). Impaling a person to a tree is a common trope regarding the lynchings that were occurring during that time. Regardless of the minor difference Turner’s real lynching story is similar to Lamkins’s in Cane, proving that Toomer acknowledged what was occurring in the South prior to his visit in 1921, and he based Lamkins on a real historic
Books are filled with stories of colonial resistance such as the Boston Tea Party, the burning of effigies, and the Revolutionary War. There are many stories of Daniel Shay's rebellion against the young federal government. Yet one story that receives little attention is the story of Nat Turner's rebellion. This being one of the first rebellions and acts of abolition of slavery you would think that this amazing story would be in every textbook throughout the world. His story is an excellent example of how some slaves fought back and resisted their oppressors. Overall, I was extremely impressed with this work. I think Stephen Oates was truly interested in what he was researching, as this is reflected in the book. He makes important the inhumane treatment and crude conditions that a slave had to endure under their control. His skill as a writer is excellent, and he does a very good job bringing the reader into the story. Oates believes that Nat Turner's rebellion was a critical turning point in American history, especially Southern history. I was especially impressed with his ability to describe what was happening. The detail fills the mind with a well-drawn picture of the scenery, smells, attitudes, and needs of the blacks and whites of this part of the South. Lastly I would say that this book is not only enjoyable, but also an important historical work that is helpful in understanding race relations of the past and
. . but specifics [to him] didn’t matter because the victims were now symbols of injustice: a NAACP cause” (78). Especially given the long-past, over-60-years-old nature of the lynching, Wexler’s goal, and therefore also her writing, must more profound, and compelling, than this, and therefore she, unlike White, is interested in the specifics: “Roger and Dorothy Malcolm, and George and Mae Murray [the lynching victims] . . . I have tried to bring them to life” (266). Wexler succeeds in that, rather than merely mentioning these victims in the context of the lynching, she includes detailed biographies of each, as well as of their relations, and describes their actions long before and immediately leading up to the lynching, in an attempt to give the reader a better understanding of and greater empathy for them.
‘Fire in a canebrake’ is quite a scorcher by Laura Wexler and which focuses on the last mass lynching which occurred in the American Deep South, the one in the heartland of rural Georgia, precisely Walton County, Georgia on 25th July, 1946, less than a year after the Second World War. Wexler narrates the story of the four black sharecroppers who met their end ‘at the hand of person’s unknown’ when an undisclosed number of white men simply shot the blacks to death. The author concentrates on the way the evidence was collected in those eerie post war times and how the FBI was actually involved in the case, but how nothing came of their extensive investigations.
Within the play, there are a variety of ways that the people of Laramie and those outside of Laramie frame Aaron McKinney and Russell Henderson, the murderers of Matthew Shepard. I find the fact that the play is able to present how the American people were able to frame them as outliers from society, yet still, acknowledge that the two were manifestations of society surprising. In most texts aimed at the public, the perpetrators of the Matthew Shepard murder are framed as being outliers, not connected with the majority of society. The Laramie Project is able to demonstrate that the pair are a reflection of societal prejudices through the use of contradictions of characters. The playwrights would present a character that used language suggesting that the behavior and attitudes of McKinney and Henderson were abnormal, then contradict those statements using members of Laramie who were either scrutinized by these prejudices or experienced similar ones. In creating these opposing narratives, the play is able to share all the perceptions of Laramie, while still holding the town of Laramie and the audience accountable for the murder.
This introduction to Kentucky history is a collaboration between the state's leading historian, James C. Klotter, and educational consultant Freda C. Klotter. In five compact chapters, they outline major influences and developments of the frontier, statehood, Civil War, industrial, and modern periods. Seven other chapters are thematic, focusing on Kentucky government, regions and regionalism, agricultural and material culture, commercial transformation, literature and music, and demography. Occasional sidebars document the lives of well-known and anonymous Kentuckians to illustrate economic, social, and cultural themes. A Concise History of Kentucky will be useful to many readers new to the state.
In Lewis Nordan's novel Wolf Whistle, he recounts the true story of Emmett till in a fictional tale. Till was a fourteen-year-old African American boy who was brutally murdered after whistling at a white woman. He was nearly beaten to death, had his eye gouged out, and was shot in the head, wrapped in barbed wire, then thrown in the river and held down by a cotton gin fan by two white men. These men were later acquitted of their crimes by a jury of their peers. This homicide was a major turning point in the civil rights movements that were sweeping across the nation in the 1950s. He was able to recount the story by referencing real-life events and using symbolism and magical realism. Magical realism is a literary genre that combines realistic narrative with supernatural elements of dreams or fantasy.