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    <title type="text">Polson High School</title>
    <subtitle type="text">Polson High School:</subtitle>
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    <updated>2010-03-09T21:08:51Z</updated>
    <rights>Copyright (c) 2010, Michael L Umphrey</rights>
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    <id>tag:flatheadreservation.org,2010:03:09</id>


    <entry>
      <title>Emerson resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/audio_emersons_essays/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.347</id>
      <published>2010-03-09T19:05:51Z</published>
      <updated>2010-03-09T21:08:51Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Readings"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Readings/"
        label="Readings" />
      <content type="html"><![CDATA[<p>Emerson. The Ideal (Emerson as prophet) (1:30 min): <a href="http://www.youtube.com/watch?v=Cas9bBd3cJU&amp;feature=related">http://www.youtube.com/watch?v=Cas9bBd3cJU&amp;feature=related</a>
</p>
<p>
Emerson: Individualism, Transcendentalism and intro to self reliance (1:22): <a href="http://www.youtube.com/watch?v=PSPuY4RONjo&amp;feature=related">http://www.youtube.com/watch?v=PSPuY4RONjo&amp;feature=related</a>
</p>
<p>
Emerson: &#8220;Nature&#8221; and intro to Transcendentalism: outdoor lecture drawn from &#8220;Nature&#8221; with discussion of &#8220;oversoul&#8221; (5:09): <a href="http://www.youtube.com/watch?v=fR34vnUTjIw">http://www.youtube.com/watch?v=fR34vnUTjIw</a>
</p>
<p>
Emerson, &#8220;Self-Reliance&#8221; text read on YouTube (6:23): <a href="http://www.youtube.com/watch?v=WJXiF9Tlb6g&amp;feature=related">http://www.youtube.com/watch?v=WJXiF9Tlb6g&amp;feature=related</a>
</p>
<p>
You can listen or download various Emerson essays here: <a href="http://feeds.feedburner.com/RalphWaldoEmersonPodcast" title="http://feeds.feedburner.com/RalphWaldoEmersonPodcast">http://feeds.feedburner.com/RalphWaldoEmersonPodcast</a>
</p>
<p>
Relationship between <a href="http://www.renewamerica.us/analyses/060517hutchison.htm" title="Emerson and Rousseau">Emerson and Rousseau</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/texts/self_reliance/" title="Text of "Self-Reliance"">Text of &#8220;Self-Reliance&#8221;</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Ralph Waldo Emerson</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/ralph_waldo_emerson/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2656</id>
      <published>2010-03-09T21:05:40Z</published>
      <updated>2010-03-09T21:05:40Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<a title="View Ralph Waldo Emerson-Self-Reliance document on Scribd" href="http://www.scribd.com/doc/7801657/Ralph-Waldo-EmersonSelfReliance" style="margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block; text-decoration: underline;">Ralph Waldo Emerson-Self-Reliance</a> <object codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=9,0,0,0" id="doc_66490659398822" name="doc_66490659398822" classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" align="middle"	height="500" width="100%">		<param name="movie"	value="http://documents.scribd.com/ScribdViewer.swf?document_id=7801657&access_key=key-1vuhs7pm7ivpyqvxokvz&page=1&version=1&viewMode="> 		<param name="quality" value="high"> 		<param name="play" value="true">		<param name="loop" value="true"> 		<param name="scale" value="showall">		<param name="wmode" value="opaque"> 		<param name="devicefont" value="false">		<param name="bgcolor" value="#ffffff"> 		<param name="menu" value="true">		<param name="allowFullScreen" value="true"> 		<param name="allowScriptAccess" value="always"> 		<param name="salign" value="">    				<embed src="http://documents.scribd.com/ScribdViewer.swf?document_id=7801657&access_key=key-1vuhs7pm7ivpyqvxokvz&page=1&version=1&viewMode=" quality="high" pluginspage="http://www.macromedia.com/go/getflashplayer" play="true" loop="true" scale="showall" wmode="opaque" devicefont="false" bgcolor="#ffffff" name="doc_66490659398822_object" menu="true" allowfullscreen="true" allowscriptaccess="always" salign="" type="application/x-shockwave-flash" align="middle"  height="500" width="100%"></embed>	</object>	<div style="margin: 6px auto 3px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 12px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;">    <a href="http://www.scribd.com/upload" style="text-decoration: underline;">Publish at Scribd</a> or <a href="http://www.scribd.com/browse" style="text-decoration: underline;">explore</a> others:            <a href="http://www.scribd.com/browse?c=66-essays" style="text-decoration: underline;">Essays</a>              <a href="http://www.scribd.com/browse?c=64-literature" style="text-decoration: underline;">Literature</a>                  <a href="http://www.scribd.com/tag/ralph%20waldo%20emersonselfreliance" style="text-decoration: underline;">ralph waldo emersons</a>              <a href="http://www.scribd.com/tag/Ralph%20Waldo%20Emerson" style="text-decoration: underline;">Ralph Waldo Emerson</a>      	</div>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_resources/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2892</id>
      <published>2010-03-08T21:09:53Z</published>
      <updated>2010-03-08T21:53:52Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_turning_point/" title="Turning Points of World History">Turning Points of World History</a>
</p>
<p>
<b>Reading Schedule</b>
</p>
<p>
Mar2 Chapters 1-2-3
<br />
Mar3 Chapters 4-5-6-7
<br />
Mar4 Chapters 8-9-10
<br />
Mar5 Chapters 11-12-13
<br />
Mar8 Chapters 14-15-16
<br />
Mar9 Chapters 17-18
<br />
Mar10 Chapters 19-20-21
<br />
Mar11 Chapters 22-23-24-25
<br />
Mar12 Chapters 26-27-28-29
<br />
Mar15 Chapters 30-31-32
<br />
Mar16 Chapters 33-34-35-36
<br />
Mar17 Chapters 37-38-39-40
<br />
Mar18 Chapters 41-42-43 
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Study_Guide_Revised.pdf" title="Study Guide">Study Guide</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_discussion_questions/" title="Discussion Questions">Discussion Questions</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_the_moral_sense/" title="The Moral Sense">The Moral Sense</a> (C.S. Lewis)
<br />
Moral Reasoning: <a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_conscience_and_the_moral_sense1/" title="Conscience">Conscience</a>
<br />
Moral Reasoning: <a href="http://www.flatheadreservation.org/index.php/phs/moral_reasoning/" title="Getting to Ought">Getting to Ought</a>
<br />
Moral Reasoning: Kohlberg&#8217;s <a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_turning_point/" title="Stages of Moral Reasoning">Stages of Moral Reasoning</a>
<br />
Moral Reasoning: <a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_soloman_and_frenchmen/" title="Solomon and Frenchmen">Solomon and Frenchmen</a>
<br />
Irony and Complexity: <a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_irony_and_complexity/" title="The Duke and Dauphin">The Duke and Dauphin</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_aristocracy_feud/" title="Grangerfords and Shepherdsons">Grangerfords and Shepherdsons</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_the_ending/" title="Is the Ending an Artistic Failure?">Is the Ending an Artistic Failure?</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_hucks_father/" title="How is Huck Finn Shaped by his Father?">How is Huck Finn Shaped by his Father?</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/phs/huckleberry_finn_handout_point_of_view/" title="Huckleberry Finn's Voice (point of view)">Huckleberry Finn&#8217;s Voice (point of view)</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: the moral sense</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_the_moral_sense/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2366</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-03-05T22:11:01Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><b>The Moral Sense</b>
</p>
<p>
Every one has heard people quarreling. Sometimes it sounds funny and sometimes it sounds merely unpleasant; but however it sounds, I believe we can learn something very important from listening to the kinds of things they say. They say things like this: &#8220;How&#8217;d you like it if anyone did the same to you?"&#8212;"That&#8217;s my seat, I was there first"&#8212;"Leave him alone, he isn&#8217;t doing you any harm"&#8212;"Why should you shove in first?"&#8212;"Give me a bit of your orange, I gave you a bit of mine"&#8212;"Come on, you promised.&#8221; People say things like that every day, educated people, as well as uneducated, and children as well as grown-ups.
</p>
<p>
Now what interests me about all these remarks is that the man who makes them is not merely saying that the other man&#8217;s behavior does not happen to please him. He is appealing to some kind of standard of behavior which he expects the other man to know about. And the other man very seldom replies: &#8220;To hell with your standard.&#8221; 
</p>
<p>
Nearly always he tries to make out that what he has been doing does not really go against the standard, or that if it does there is some special excuse. He pretends there is some special reason in this particular case why the person who took the seat first should not keep it, or that things were quite different when he was given the bit of orange, or that something has turned up which lets him off keeping his promise. It looks, in fact, very much as if both parties had in mind some kind of Law or Rule of fair play or decent behavior or morality or whatever you like to call it, about which they really agreed. 
</p>
<p>
And they have. If they had not, they might, of course, fight like animals, but it they could not quarrel in the human sense of the word. Quarreling means trying to show that the other man is in the wrong. And there would be no sense in trying to do that unless you and he had some sort of agreement as to what Right and Wrong are; just as there would be no sense in saying that a footballer had committed a foul unless there was some agreement about the rules of football.
</p>
<p>
Now this Law or Rule about Right and Wrong used to be called the Law of Nature. Nowadays, when we talk of the &#8220;laws of nature&#8221; we usually mean things like gravitation, or heredity, or the laws of chemistry. But when the older thinkers called the Law of Right and Wrong &#8220;the Law of Nature,&#8221; they really meant the Law of Human Nature. The idea was that, just as all bodies are governed by the law of gravitation and organisms by biological laws, so the creature called man also had his law&#8212;with this great difference, that a body could not choose whether it obeyed the law of gravitation or not, but a man could choose either or obey the Law of Human Nature or to disobey it.
</p>
<p>
We may put this in another way. Each man is at every moment subjected to several sets of law but there is only one of these which he is free to disobey. As a body, he is subjected to gravitation and cannot disobey it; if you leave him unsupported in mid-air, he has no more choice about falling than a stone has. As an organism, he is subjected to various biological laws which he cannot disobey anymore than an animal can. That is, he cannot disobey those laws which he shares with other things; but the law which is peculiar to his human nature, the law he does not share with animals or vegetables or inorganic things, is the one he can disobey if he chooses.
</p>
<p>
This law was called the Law of Nature because people thought that every one knew it by nature and did not need to be taught it. They did not mean, of course, that you might not find an odd individual here and there who did not know it, just as you find a few people who are colour-blind or have no ear for a tune. But taking the race as a whole, they thought that the human idea of decent behavior was obvious to everyone. And I believe they were right. If they were not, then all the things we said about the war were nonsense. What was the sense in saying the enemy were in the wrong unless Right is a real thing which the Nazis at bottom knew as well as we did and ought to have practiced? If they had no notion of what we mean by right, then, though we might still have had to fight them, we could no more have blamed them for that then for the colour of their hair.
</p>
<p>
I know that some people say the idea of a Law of Nature or decent behavior known to all men is unsound, because different civilizations and different ages have had quite different moralities.
</p>
<p>
But this is not true. There have been differences between their moralities, but these have never amounted to anything like a total difference. If anyone will take the trouble to compare the moral teaching of, say, the ancient Egyptians, Babylonians, Hindus, Chinese, Greeks and Romans, what will really strike him will be how very like they are to each other and to our own. Some of the evidence for this I have put together in the appendix of another book called <i>The Abolition of Man</i>; but for our present purpose I need only to ask the reader to think what a totally different morality would mean. Think of a country where people were admired for running away in battle, or where a man felt proud of double-crossing all the people who had been kindest to him. You might just as well try to imagine a country where two and two make five. Men have differed as regards what people you ought to be unselfish to&#8212;whether it was only your own family, or your fellow countrymen, or everyone. But they have always agreed that you ought not to put yourself first. Selfishness has never been admired. Men have differed as to whether you should have one wife or four. But they have always agreed that you must not simply have any woman you liked.
</p>
<p>
But the most remarkable thing is this. Whenever you find a man who says he does not believe in a real Right and Wrong, you will find the same man going back on this in a moment later. He may break his promise to you, but if you try breaking on to him he will be complaining &#8220;It&#8217;s not fair&#8221; before you can say Jack Robinson. A nation may say treaties do not matter; but the next minute, they spoil their case by saying that the particular treaty they want to break was an unfair one. But if treaties do not matter, and if there is not such thing as Right and Wrong&#8212;in other words, if there is no Law of Nature&#8212;what is the difference between a fair treaty and an unfair one? Have they not let the cat out of the bag and shown that, whatever they say, they really know the Law of Nature just like anyone else?
</p>
<p>
It seems, then, we are forced to believe in a real Right and Wrong. People may be sometimes mistaken about them, just as people sometimes get their sums wrong; but they are not a matter of mere taste and opinion any more than the multiplication table. Now if we are agreed about that, I go on to my next point, which is this. None of us is really keeping the Law of Nature. If there are any exceptions among you, I apologize to them. They had much better read some other work, for nothing I am going to say concerns them. And now, turning to the ordinary human beings who are left:
</p>
<p>
I hope you will not misunderstand what I am going to say. I am not preaching, and Heaven knows I do not pretend to be better than anyone else. I am only trying to call attention to a fact; the fact that this year, or this month, or, more likely, this very day, we have failed to practice ourselves the kind of behavior we expect from other people. There may be all sorts of excuses for us. That time you were so unfair to the children was when you were very tired. That slightly shady business about the money--the one you have almost forgotten&#8212;came when you were very hard up. And what you promised to do for old So-and-so and have never done&#8212;well, you never would have promised if you had known how frightfully busy you were going to be. And as for your behavior to your wife (or husband) or sister (or brother) if I knew how irritating they could be, I would not wonder at it&#8212;and who the dickens am I, anyway? 
</p>
<p>
I am just the same. That is to say, I do not succeed in keeping the Law of Nature very well, and the moment anyone tells me I am not keeping it, there starts up in my mind a string of excuses as long as your arm. The question at the moment is not whether they are good excuses. The point is that they are one more proof of how deeply, whether we like if or not, we believe in the Law of Nature. If we do not believe in decent behavior, why should we be so anxious to make excuses for not having behaved decently? The truth is, we believe in decency so much&#8212;we feel the Rule of Law pressing on us so&#8212;that we cannot bear to face the fact that we are breaking it, and consequently we try to shift the responsibility. For you notice that it is only for our bad behaviour that we find all these explanations. It is only our bad temper that we put down to being tired or worried or hungry; we put our good temper down to ourselves.
</p>
<p>
These, then, are the two points I wanted to make. First, that human beings, all over the earth, have this curious idea that they ought to behave in a certain way, and cannot really get rid of it. Secondly, that they do not in fact behave in that way. They know the Law of Nature; they break it. These two facts are the foundation of all clear thinking about ourselves and the universe we live in.&nbsp;
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: point of view</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_point_of_view/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2342</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-02-21T16:46:24Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>An automobile accident occurs. Two drivers are involved. Witnesses include four sidewalk spectators, a policeman, a man with a video camera who happened to be shooting the scene, and the pilot of a helicopter that was flying overhead. Here we have nine different points of view and, most likely, nine different descriptions of the accident.
</p>
<p>
In fiction, who tells the story and how it is told are critical issues for an author to decide. The tone and feel of the story, and even its meaning, can change radically depending on who is telling the story.
</p>
<p>
Remember, someone is always between the reader and the action of the story. That someone is telling the story from his or her own point of view. This angle of vision, the point of view from which the people, events, and details of a story are viewed, is important to consider when reading a story.
</p>
<p>
Famous novelist Ernest Hemingway declared &#8220;All modern American literature comes from one book by Mark Twain called <i>Huckleberry Finn</i>.&#8221; Part of what he was getting at is that the book is written in voices that could only have been found in America. 
</p>
<p>
The excerpt below is from the novel <i>Pride and Prejudice</i>, published by English author Jane Austen in 1813. It&#8217;s typical of the sort of story people in the 19th Century were used to finding in novels. What can you surmise about the narrator from this short excerpt? Compare this reading with the first page of <i>Huckleberry Finn</i>. What can you surmise about Huck from the way he tells the story? 
<br />

</p>
<blockquote><p>It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
</p>
<p>
However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters.
</p>
<p>
&#8220;My dear Mr. Bennet,&#8221; said his lady to him one day, &#8220;have you heard that Netherfield Park is let at last?&#8221;
</p>
<p>
Mr. Bennet replied that he had not.
</p>
<p>
&#8220;But it is,&#8221; returned she; &#8220;for Mrs. Long has just been here, and she told me all about it.&#8221;
</p>
<p>
Mr. Bennet made no answer.
</p>
<p>
&#8220;Do you not want to know who has taken it?&#8221; cried his wife impatiently.
</p>
<p>
&#8220;You want to tell me, and I have no objection to hearing it.&#8221;
</p>
<p>
This was invitation enough.
</p>
<p>
&#8220;Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.&#8221;</p></blockquote>
<p>
-----------------------------------------------------------------------
</p>
<h3>Types of Point of View</h3>
<p>
<b>Objective Point of View</b>
<br />
With the objective point of view, the writer tells what happens without stating more than can be inferred from the story&#8217;s action and dialogue. The narrator never discloses anything about what the characters think or feel, remaining a detached observer.
</p>
<p>
<b>Third Person Point of View</b>
<br />
Here the narrator does not participate in the action of the story as one of the characters, but lets us know exactly how the characters feel. We learn about the characters through this outside voice.
</p>
<p>
<b>First Person Point of View</b>
<br />
In the first person point of view, the narrator does participate in the action of the story. When reading stories in the first person, we need to realize that what the narrator is recounting might not be the objective truth. We should question the trustworthiness of the accounting.
</p>
<p>
<b>Omniscient and Limited Omniscient Points of View</b>
<br />
A narrator who knows everything about all the characters is all knowing, or omniscient.
</p>
<p>
A narrator whose knowledge is limited to one character, either major or minor, has a limited omniscient point of view.
</p>
<p>
As you read Huckleberry Finn think about these things:
</p>
<p>
How does the point of view affect your responses to the characters? How is your response influenced by how much the narrator knows and how objective he or she is? First person narrators, such as Huck, are not always trustworthy. It is up to you to determine what is the truth and what is not.
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: The ending</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_the_ending/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2346</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-02-21T22:18:28Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>William F. Byrne:
</p>
<blockquote><p>The ending section is tiresome, and is often considered a failure. However, one commentator, Catherine Zuckert, argues that Twain had a definite purpose in mind: &#8220;he tries to separate the reader&#8217;s viewpoint even further from the narrator&#8217;s at the end--by making the reader sick and tired of all the boyish tricks. Failing to perceive the critical thrust of the disgust that Twain purposely engendered, however, most commentators have simply concluded that his art ran out at the end.&#8221; [12] It is true that by the end of the book we begin to wish that Tom would just grow up. It can be argued, however, that it is not simply &#8220;boyish tricks&#8221; we grow sick of, but Tom&#8217;s romantic imagination which is fueling them. We recognize that the antics serve no purpose, and wish Tom would get done with them. Sandwiched between the book&#8217;s Tom Sawyer-dominated beginning and ending sections, Huck and Jim&#8217;s trip down the river, free of Tom and his romantic role-playing, is like a breath of fresh air.</p></blockquote>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: Huck&#8217;s father</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_hucks_father/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2347</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-02-21T22:31:42Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>Huck&#8217;s life, though sometimes viewed as happy-go-lucky, has been by objective standards a nightmare. He has been raised in complete poverty by a worthless and shiftless father who is rarely present and often drunk, who sometimes treats Huck cruelly and has failed to have him educated, and who demonstrates a wide range of bad personality traits. . .It is as if the harsh realities of his life have forced Huck to grow up fast, and to focus exclusively on the practical concerns of the world immediately around him. Forced by necessity to live by his wits, Huck is constantly striving to work with the actual circumstances at hand. . .
</p>
<p>
Huck has no family, with the exception of his terrible father, and is quite alone in the world; Tom offers a respite from Huck&#8217;s aloneness. . .
</p>
<p>
Huck&#8217;s way is to &#8216;go along to get along,&#8217; and he has no qualms about deferring to others if this is what is necessary to keep the peace. Resistance is not his way. He has learned this behavior through his need to deal with the capricious violence of his father; it has made Huck into a sheep.
</p>
<p>
Realism, Romanticism and Politics in Mark Twain. Contributors: William F. Byrne - author. Journal Title: Humanitas. Volume: 12. Issue: 1. Publication Year: 1999. Page Number: 16. COPYRIGHT 1999 National Humanities Institute; COPYRIGHT 2002 Gale Group
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Final Exam</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_final_exam/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2348</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-03-07T15:54:19Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>What is the most important sentence in the book? Explain why you think this sentence is important for understanding what the book is mainly about.
</p>
<p>
Use your &#8220;Mapping a character&#8217;s moral trajectory&#8221; worksheet to write an essay about the character Huck Finn. What is like at the beginning of the story and how does he change in response to his experiences? What is his <i>telos</i> at the end of the story?
</p>
<p>
Topics: freedom, truth and deception, Civilization and wildness
</p>
<p>
1. temperance
<br />
2. infernal
<br />
3. abolitionist
<br />
4. afoot
<br />
5. confound
<br />
6. frivilousness
<br />
7. haughty
<br />
8. divining
<br />
9. dissipating
<br />
10. sublime
<br />
11. histrionic
<br />
12. muse
<br />
13. brazen
<br />
14. contrite
<br />
15. languish
<br />
16. soliloquy
<br />
17. calamity
<br />
18. hue
<br />
19. resolution
<br />
20. ponderous
<br />
21. air
<br />
22. stealthiest
<br />
23. blitheful
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: Levels of moral reasoning</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_levels_of_moral_reasoning/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2349</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-02-27T14:56:39Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>Level 1. Avoiding punishment
</p>
<p>
Level 2. Self-interest: What&#8217;s in it for me?
</p>
<p>
Level 3. Conformity: Being a &#8220;good&#8221; boy/girl
</p>
<p>
Level 4. Keeping order: We need law and order
</p>
<p>
Level 5. Social contract/human rights: How do we create the right kind of society?
</p>
<p>
Level 6. Universal ethical principles: What is good?
</p>

<p>
Kohlberg used &#8220;moral dilemmas&#8221; to assess the level of reasoning people used to solve moral problems. Here&#8217;s the most famous one:
</p>
<blockquote><p>A woman was near death from a unique kind of cancer. There is a drug that might save her. The drug costs $4,000 per dosage. The sick woman&#8217;s husband, Heinz, went to everyone he knew to borrow the money and tried every legal means, but he could only get together about $2,000. He asked the doctor scientist who discovered the drug for a discount or let him pay later. But the doctor scientist refused. 
<br />
Should Heinz break into the laboratory to steal the drug for his wife? Why or why not? </p></blockquote>
<p>
From a theoretical point of view, it is not important what the participant thinks that Heinz should do. The point of interest is the justification that the participant offers. Below are examples of possible arguments that belong to the six stages. It is important to keep in mind that these arguments are only examples. It is possible that a participant reaches a completely different conclusion using the same stage of reasoning:
</p>
<ul type="square"><li>Stage one (obedience): Heinz should not steal the medicine, because otherwise he will be put in prison.</li>
<li>Stage two(self-interest): Heinz should steal the medicine, because he will be much happier if he saves his wife, even if he will have to serve a prison sentence.</li>
<li>Stage three (conformity): Heinz should steal the medicine, because his wife expects it. </li>
<li>Stage four (law-and-order): Heinz should not steal the medicine, because the law prohibits stealing. </li>
<li>Stage five (human rights): Heinz should steal the medicine, because everyone has a right to live, regardless of the law. Or: Heinz should not steal the medicine, because the scientist has a right to fair compensation. </li>
<li>Stage six (universal human ethics): Heinz should steal the medicine, because saving a human life is a more fundamental value than the property rights of another person. Or: Heinz should not steal the medicine, because that violates the golden rule of honesty and respect. </li>
<li>Stage seven (transcendental morality): Heinz should not steal the medicine, because he and his wife should accept the sickness as part of the natural cycle of life-and-death and instead enjoy their time left together.</li> </ul>
<br />]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: Turning Point</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_turning_point/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2357</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-02-25T21:21:50Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>A <i>US News &amp; World Report</i> cover story reported nine Hidden Turning Points in World History&#8230;
</p>
<p>
<b>The Nine Hidden Turning Points in World History:</b>
</p>
<p>
1. The Mission of the Apostle Paul (1st century, A.D.), which profoundly defined and expanded Christianity worldwide.
</p>
<p>
2. The Great Black Death Plague of Europe (starting in 1347).
</p>
<p>
3. The numerous unheralded discoveries of America (including the Phoenicians, c. 600 B.C., and the Norsemen, c. 1000 A.D.), prior to Columbus in 1492.
</p>
<p>
4. The Japanese total rejection of firearms for over 250 years, in favor of the traditional samurai weapons (swords, etc.) from c. 1600 to c. 1850.
</p>
<p>
5. Napoleon&#8217;s conquest of Europe (c. 1806).
</p>
<p>
6. Mark Twain&#8217;s Great American Novel, <i>Huckleberry Finn</i> (1885), which paved the way for many of the great authors that followed him (e.g. Jack London, F. Scott Fitzgerald, Hemingway, etc.).
</p>
<p>
7. America&#8217;s misplaced support (starting in 1927) of China&#8217;s Generalissimo and Madame Chiang Kai-shek, directly contributing to US involvement in both the Korean and Vietnam wars.
</p>
<p>
8. The introduction of &#8220;The Pill&#8221; as a reliable form of birth control (1960).
</p>
<p>
9. Dr. W. Edwards Deming (1900-1993), the American Einstein of Business, guides the Japanese post-war quality miracle and economic rebirth, starting in 1950.
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: Moral Reasoning</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/moral_reasoning/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2358</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-02-27T17:44:34Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><i>&#8220;People don&#8217;t generally engage in moral reasoning . . . but moral rationalization: they begin with the conclusion, coughed up by an unconscious emotion, and then work backward to a plausible justification.&#8221; </i>Steven Pinker (<i>The Moral Instinct</i>)
</p>
<p>
_______________________________________________________
</p>
<p>
Most people believe that harming innocent children is wrong, as is cheating on an exam or breaking a promise. More controversially, some people believe that abortion is wrong, that the death penalty is unjust, or that animals should not be killed and eaten. 
</p>
<p>
These moral judgments are unlike other social judgments in an important way. Not only do we believe that our moral judgments are correct, but we believe that (unlike our attitudes toward, say, chocolate ice cream) everyone else should agree with. 
</p>
<p>
However, a problem arises when defending moral judgments. Defending a moral judgment by appealing to our subjective preferences (e.g., &#8220;abortion is wrong because I don&#8217;t like it") is unpersuasive, inasmuch it fails to provide a compelling reason why others should agree. And unlike factual beliefs (e.g., that the world is round), there is usually no objective set of facts that can be used to evaluate a moral claim. 
</p>
<p>
These features make disagreement in the moral domain a tricky problem. What individuals often do, however, is defend a specific moral judgment by appealing to a general moral <i>principle</i>. Principles have the advantage of being foundational rules that can guide judgment across a wide variety of situations, making these judgments appear to be less like <i>ad hoc</i> preferences and more like rational facts. 
</p>
<p>
A principle serves as a first step&#8212;once there is agreement about a principle, whether or not the specific moral claim is an instantiation of the principle can be deduced. Reasoning one&#8217;s way to specific moral judgments by using general principles is not only the way moral philosophers do things, it is also a sign of mature moral reasoning according to developmental psychologists.
</p>
<p>
Individuals at the highest stages of moral reasoning, according to Kohlberg, reason their way from a set of universal principles to making judgments about specific dilemmas they encounter in everyday life. 
</p>
<p>
Of course, there has been significant debate within moral philosophy as to which principles should be endorsed. In particular, moral philosophers are quite divided as to whether a <i>consequentialist</i> or a <i>deontological</i> normative ethic is most defensible. Consequentialism holds that acts are morally right or wrong to the degree that they maximize good outcomes, and that the means to such maximization are irrelevant. Deontologists, on the other hand, believe that there are constraints against action independent of consequences some acts are wrong in-and-of themselves. Such constraints often include injunctions not to break promises, not to lie, and in general not to harm innocent others.
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn handout: Conscience and the moral sense</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_conscience_and_the_moral_sense1/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2360</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-02-27T21:17:17Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Thomas Paine: &#8220;The Almighty hath implanted in us these unextinguishable feelings for good and wise purposes. They are the guardians of his image in our hearts. They distinguish us from the herd of common animals. The social compact would dissolve, and justice be extirpated from the earth, or have only a casual existence were we callous to the touches of affection. The robber and the murderer would often escape unpunished, did not injuries which our tempers sustain, provoke us into justice.&#8221; (<i>Common Sense</i>, p. 150.)
</p>
<p>
Abraham Lincoln: &#8220;Labour to keep alive in your breast that little spark of celestial fire called conscience.&#8221;
</p>
<p>
Orson F. Whitney: &#8220;A man sins when he violates his conscience, going contrary to light and knowledge&#8212;not the light and knowledge that has come to his neighbour, but that which has come to himself. He sins when he does the opposite of what he knows to be right. Up to that point he only blunders. One may suffer painful consequences for inly blundering but he cannot commit sin unless he knows better than to do the thing in which sin consists. One must have a conscience before he can violate it. The Psalmist (Ps 4,6) explained that they light of conscience by which we discern what is good and what is evil is nothing but the impression of divine light on us The spirit of man is the candle of the Lord.&#8221;
</p>
<p>
Lord Byron stated: &#8220;Man&#8217;s conscience is the oracle of God.&#8221;
</p>
<p>
Winston Churchill held that: &#8220;The only wise and safe course is to act from day to day in accordance with what ones conscience seems to decree.&#8221;
</p>
<p>
Albert Einsteins motto was: &#8220;Never do anything against conscience even if the state demands it.&#8221;
</p>
<p>
Emerson&#8217;s rule was: &#8220;Let me consider this as a resolution by which I pledge myself to act in all variety of circumstances and to which I must recur often in times of carelessness and temptation&#8212;to measure my conduct by the rule of conscience.&#8221;
</p>
<p>
Benjamin Franklin&#8217;s advice was: Keep conscience clear then never fear.&#8221;
</p>
<p>
Martin Luther King, Jr taught: &#8220;Vanity asks the question&#8212;is it popular? Conscience asks the question&#8212;is it right?&#8221;
</p>
<p>
Abraham Lincoln believed in being true to his conscience: &#8220;No client ever had enough to bribe my conscience or to stop its utterance against wrong and oppression.&#8221;
</p>
<p>
Martin Luther boldly declared to the religious tribunal: &#8220;I cannot and will not recant anything, for to go against conscience is neither right nor safe. Here I stand. I cannot do no other, so help me God, Amen."(speech before Diet of Worms Germany April 18, 1521)
</p>
<p>
Publius Syrus advised: &#8220;Consult your conscience, rather than popular opinion.&#8221;
</p>
<p>
Bertrand Russell stated: &#8220;To obey God means, in practice, to obey one&#8217;s conscience.&#8221;
</p>
<p>
Seneca the younger stated: &#8220;Nothing shall I ever do for the sake of [public] opinion, everything for the sake of my conscience.&#8221;
</p>
<p>
George Bernard Shaw observed: &#8220;A world without conscience; that is the horror of our condition.&#8221;
</p>
<p>
Stanislaw observed: &#8220;Conscience warns us as a friend before it punishes us as judge.&#8221;
</p>
<p>
Emmanuel Swedenborg succinctly stated: &#8220;Conscience is Gods presence in man.&#8221;
</p>
<p>
George Washington: &#8220;Labour to keep alive in your breast that little spark of celestial fire called conscience.&#8221;
</p>
<p>
Ludwig Wittgenstein admitted: &#8220;Certainly it is correct to say: Conscience is the voice of God.&#8221;
</p>
<p>
&#8220;I believe&#8230; that [justice] is instinct and innate, that the moral sense is as much a part of our constitution as that of feeling, seeing, or hearing; as a wise Creator must have seen to be necessary in an animal destined to live in society.&#8221; --Thomas Jefferson to John Adams, 1816. ME 15:76
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: irony and complexity</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_irony_and_complexity/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2362</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-03-04T04:21:34Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>Writing <i>The Adventures of Huckleberry Finn</i> took Mark Twain several years. He began the project as a sequel to <i>The Adventures of Tom Sawyer</i>, as another children&#8217;s book. But as he wrote, it became more complex; it raises questions that make it a challenging book for readers of all ages. To understand the novel&#8217;s complexity, one has to take its dual historical context into account. Twain locates the action in the past, before the Civil War, and before the legal abolition of slavery. But much of the novel speaks to Twain&#8217;s contemporary audience, who lived during Reconstruction, a time when the South especially was trying to deal with the effects of the Civil War. The &#8220;king&#8221; and &#8220;duke&#8221; owe something of their depiction to the post-Civil War stereotype of carpetbaggers (a derogatory stereotype of Northerners come to prey on the defeated South). Jim belongs, at least partially, to a postwar Vaudeville tradition of the &#8220;happy darky,&#8221; played on stage by white men in blackface, who used a parodied version of black dialect. This popular stereotype conveyed a white nostalgia, and enacted an imaginary construction of the slave before Emancipation, before the &#8220;disappointments&#8221; of Reconstruction. Twain tries to come to terms with this nostalgia, but whether he critiques it, or indulges in it, is up for debate.
</p>
<p>
During his lifetime, Twain was best known for being a humorist, a user of irony and a writer of satire. In this novel, he uses Huck as a relatively naive narrator to make ironic observations about Southern culture and human nature in general. As usual, Twain finds a likely object of satire in religious fervor, in the cases both of Miss Watson and of the visit the &#8220;king&#8221; pays to the camp-meeting. But the irony in Huckleberry Finn exists at several levels of narration: sometimes Twain seems to aim his irony at Huck, while other times, Huck himself is an ironic and detached observer. For instance, when the rascally &#8220;king&#8221; and &#8220;duke&#8221; come aboard the raft, Huck tells the reader:
</p>
<blockquote><p>It didn&#8217;t take me long to make up my mind that these liars warn&#8217;t no kings nor dukes at all, but just low-down humbugs and frauds. But I never said nothing, never let on; kept it to myself; it&#8217;s the best way; then you don&#8217;t have no quarrels, and don&#8217;t get into no trouble. If they wanted us to call them kings and dukes, I hadn&#8217;t no objections, &#8216;long as it would keep peace in the family; and it warn&#8217;t no use to tell Jim, so I didn&#8217;t tell him. If I never learnt nothing else out of Pap, I learnt that the best way to get along with his kind of people is to let them have their own way.</p></blockquote>
<p>
This passage ironically undercuts the way we think Huck has been relating to the two frauds; he does not, in fact, &#8220;feel right and kind towards&#8221; them. In fact, the connections among the foursome on the raft are extremely tenuous. Huck&#8217;s choice of metaphor compounds the irony: he compares the two men to his father, and decides to think of them as part of his &#8220;family,&#8221; throwing the whole notion of &#8220;family&#8221; into an ironic light. Huck thinks he can avoid &#8220;trouble&#8221; by pretending not to know that they are frauds, but trouble is all they bring. Huck&#8217;s decision to &#8220;let them have their own way&#8221; is wishful, because he really has no choice. Finally, although Huck seems to condemn them, he recognizes them as liars partially because he is one himselfhe tricks people out of money on more than one occasion. This passage explicitly reminds us that Huck can dissemble and pretend, just as Twain does in his writing. As readers of Huckleberry Finn, we are continually challenged to locate the multiple objects of the novel&#8217;s satire. 
</p>
<p>
<i>Overview of The Adventures of Huckleberry Finn. Pearl James. EXPLORING Novels. Online ed. Detroit: Gale, 2003. </i>
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: Aristocracy, feud</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_aristocracy_feud/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2363</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-03-04T04:43:01Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>The introduction of the Grangerfords and Shepherdsons adds a new element of humor to Twain&#8217;s novel. Whereas earlier Twain satirizes the actions of &#8220;common&#8221; townspeople, the stately families provide a perfect opportunity for Twain to burlesque the Southern code of chivalry and aristocracy of the antebellum South. The Grangerford&#8217;s house represents a gaudy and tasteless display of wealth, and Huck&#8217;s appreciation of the decor only adds to the humor. The decor that exemplifies the Grangerford&#8217;s taste is the artistic work of Emmeline, the deceased daughter who pined away after failing to discover a rhyme for &#8220;Whistler.&#8221; In contrast to Huck&#8217;s practical fascination with death, Emmeline&#8217;s work displays a romantic and sentimental obsession that even gives Huck the &#8220;fantods.&#8221;
</p>
<p>
Huck&#8217;s stay at the Grangerfords represents another instance of Twain poking fun at American tastes and at the conceits of romantic literature. For Huck, who has never really had a home aside from the Widow Douglas&#8217;s rather spartan house, the Grangerford house looks like a palace. Huck&#8217;s admiration is genuine but naive, for the Grangerfords and their place are somewhat absurd. In the figure of deceased Emmeline Grangerford, Twain pokes fun at Victorian literatures propensity for mourning and melancholy. Indeed, Emmeline&#8217;s hilariously awful artwork and poems mock popular works of the time. 
</p>
<p>
Twain also uses the families to underscore his subtle satire on religion, as the two families attend the same church, leaning their guns against the walls during the sermon about &#8220;brotherly love.&#8221; The mixture of theology and gunplay is ironic, as is the family&#8217;s subsequent reaction that the sermon was filled with positive messages about &#8220;faith and good work and free grace and preforeordestination.&#8221; Twain&#8217;s Calvinist background resurfaces in his combination of predestination and foreordination.
</p>
<p>
The great Grangerford-Shepherdson feud is yet another conceit taken from romantic literature, specifically that literatures concern with family honor. The Grangerfords and Shepherdsons are rather like Tom Sawyer grown up and armed with weapons: motivated by a sense of style and this ridiculous notion of family honor, they actually kill each other. 
</p>
<p>
The feud between the Grangerfords and Shepherdsons is one of the more memorable chapters in Huck Finn because of its extreme violence. The fact that the two noble families do not know why they continue to fight is ironic, but the irony deepens when the families actually draw blood. Huck&#8217;s casual observance turns into participation, and when he witnesses the death of his young friend, Buck, he is unable to recount the story to readers. The hated calls of &#8220;Kill them, kill them!&#8221; prompt Huck to wish that he had never gone ashore, despite his affection for the Grangerfords. The theme of death and brutality, then, is present in all facets of society, including the wealthy, and the peace of the river is never more apparent to Huck.
</p>
<p>
When Huck returns to the raft and he and Jim are safe, Huck wearily observes that &#8220; el there warnt no home like a raft, after all el. You feel mighty free and easy and comfortable on a raft.&#8221; The unaffected statement solidifies the raft/shore dichotomy and reinforces the idea that society, despite its sophistication, is cruel and unjust.
</p>
<p>
<i>Cliffnotes</i>
</p>
<p>
Originally, burlesque featured shows that included comic sketches, often lampooning the social attitudes of the upper classes, alternating with dance routines. It developed alongside vaudeville and ran on competing circuits. Possibly due to historical social tensions between the upper classes and lower classes of society, much of the humor and entertainment of burlesque focused on lowbrow and ribald subjects. The genre originated in the 1840s, early in the Victorian Era, a time of culture clashes between the social rules of established aristocracy and a working-class society. The popular burlesque show of the 1870s through the 1920s referred to a raucous, somewhat bawdy style of variety theater.&nbsp;
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Handout: Soloman and Frenchmen</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_handout_soloman_and_frenchmen/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2365</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-03-04T06:34:14Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><b>Thinking about Solomon</b>
</p>
<p>
Jim is &#8220;down on Solomon&#8221; for threatening to cut a child in two, and this is plainly preparation for our later discovery that Jim cares very much for his own children, and blames himself for having been unintentionally cruel to his daughter.
</p>
<p>
According to 2 Chronicles, two prostitutes ask Solomon to adjudicate their claim to the same baby. Lacking witnesses, the king resorts to the letter of the law, treats the baby as property, and orders it cut in half. Predictably, the sound heart of the real mother compels her to plead for the child&#8217;s life, Solomon finds his credible witness, and justice prevails. When the biblical account is viewed as an allegory about the relationship of justice (what is morally right) and the law (what is legally sanctioned), King Solomon becomes the wise intercessor; the child, a human being treated as property (the condition of the Israelites during much of Solomon&#8217;s reign); the fraudulent mother, a diseased conscience potentially abetted by civil law; and the biological mother, a sound heart governed by moral rectitude. Fully recounted, the biblical legend suggests that real justice can be served only when a judicial system is joined to a judicious social conscience.
</p>
<p>
In Jim&#8217;s parody, however, the biblical legend ends with Solomon&#8217;s decree to sever the child, which, according to Jim, is &#8220;&#8216;de beatenes&#8217; notion in de worl&#8217;&#8221; (94). A frustrated Huck tells the runaway slave that he has &#8220;clean missed the pointblame it, [...] missed it a thousand mile&#8221; (95), and he is literally right. But it is Huck, not Jim, who has missed Twain&#8217;s point. The deceptively humorous tone of the passage and Jim&#8217;s deceptively simplistic reasoning conceal a serious message. Interpreting the passage as merely humorous and Jim&#8217;s character as racially stereotyped is contradicted by earlier incidents in the narrative. First, Twain has already established Jim&#8217;s humanity and sound judgment on several occasions, and Huck has just confided to his readers that Jim &#8220;was right, he was most always right; he had an uncommon level head for a nigger&#8221; (93). Second, Twain&#8217;s heavy satire is directed at Huck&#8217;s comments, not Jim&#8217;s. Jim understands that &#8220;the real pint"&#1495;the one Twain wishes to make"is down furder&#1495;it&#8217;s down deeper. It lays in the way Sollermun was raised&#8221; (96). Jim&#8217;s sobering insight that &#8220;a man dat&#8217;s got &#8216;bout five million chillen runnin&#8217; roun&#8217; de house [...] as soon chop a chile in two as a cat&#8221; (96; emphasis in original) calls to mind the plight of millions of enslaved blacks and opens the door to speculation that Twain truncates the biblical story for a profoundly antiracist reason. Jim, I suggest, tells only half the story of King Solomon because that is the only part that his experience allows him to understand. White oppression, not Jim&#8217;s foolishness, prevents the runaway slave from imagining that anything approximating justice might prevail in a court of law. For Jim, as powerless before an American judge as the infant is in Solomon&#8217;s court, the import of the biblical story understandably ends with the king&#8217;s decree. Huck, however, who is white and whom the courts have protected in the past, decides &#8220;you can&#8217;t learn a nigger to argue&#8221; (98), and the two reach an impasse that is never resolved.
</p>
<p>
Getting the point of Solomon&#8217;s story, of course, requires understanding the difference between a human life and a piece of property, a point that Twain metaphorically represents by allowing Jim to equate the value of half a child to the worthless half a dollar bill. In Jim&#8217;s parody of Solomon&#8217;s case, Jim casts himself as Solomon and uses a dollar bill to represent the child, implying that the value of a human life in his political economy is reducible to dollars and cents. In fact, Jim immediately conflates the child with the dollar. Lacking a real child to play the part, Jim tells Huck, &#8220;this yer dollar bill&#8217;s de chile&#8221; (95). But in Jim&#8217;s metadrama, the dollar bill retains its own identity, and Jim describes the logical way to discover who &#8220;de bill [...] b&#8217;long to,&#8221; not the child (95; emphasis added). Trapped in a system whose civil and moral codes fail to distinguish between a human life and a piece of property, Jim asks, &#8220;what&#8217;s de use er dat half a bill?can&#8217;t buy noth&#8217;n wid it. En what use is a half a chile? I would&#8217;n give a dern for a million un um&#8221; (95). Earlier, Jim has defined his own worth in economic terms, telling Huck, &#8220;I owns mysef, en I&#8217;s wuth eight hund&#8217;d dollars. I wisht I had de money&#8221; (57), intuitively understanding but apparently not internalizing the illogic of being considered both a human being and a commodity.
</p>
<p>
Neither Jim nor Huck really understands the King Solomon passage, which seems to be Twain&#8217;s intention because the episode is not a defining moment for either character. Twain&#8217;s larger purpose is to encrypt Huck&#8217;s story with a parable that his audience most likely does not wish to hear. When the passage is read metanarratively, Jim is not foolish; indeed, he is the wise fool who adjudicates based on the only dispensation he knows and exposes its gross inconsistencies in the process. In a dialogic moment essential to excavating the parable, Jim vigorously defends himself when Huck accuses him of failing to understand King Solomon&#8217;s wisdom. &#8220;&#8216;Doan talk to me&#8217;bout yo&#8217; pints,&#8217;&#8221; Jim replies; &#8220;&#8216;I reck&#8217;n I knows sense when I sees it; en day ain&#8217; no sense in sich doin&#8217;s as dat&#8217;&#8221; (95). The parabolic import of the passage resides in the rest of Jim&#8217;s statement: &#8220;&#8216;De&#8217; spute warn&#8217;t&#8217;bout a half a chile, de &#8216;spute was&#8217; bout a whole child, en de man dat think he kin settle a &#8216;spute&#8217; bout a whole chile wid a half a chile, doan know enough to come in out&#8217;n de rain&#8217;&#8221; (95). Twain overwrites Jim&#8217;s parody with the sobering reminder that the dispute over slavery was about freedom and justice, both of which are as surely eviscerated by halfway measures as a child who is literally cut in two. 
</p>
<p>
<b>How the Frenchman talks</b><b></b>
</p>
<p>
The dialogue on why a Frenchman doesn&#8217;t talk like a man is much more complicated. In order to understand it we must remember the conventions of the minstrel show, where Mr. Bones, although he seems at first sight to be abysmally ignorant in comparison to Mr. Interlocutor, is actually very clever and usually wins the arguments, just as Jim does. But what is important is not that Mr. Bones wins again; what is important is the terms in which the argument is won. Huck argues that since a cat and a cow &#8220;talk&#8221; differently, and since it is &#8220;natural and right&#8221; that they should do so, it is equally &#8220;natural and right&#8221; for a Frenchman to talk differently from an American. Huck&#8217;s unstated assumption is that ethnic difference is founded in nature, and has, therefore, the same magnitude and necessity as difference in species. Jim immediately spots the fallacy. He agrees that there is a basic difference between a cat and a cow, which requires that they &#8220;talk&#8221; differently. But he asks:
</p>
<p>
    &#8220;Is a Frenchman a man?&#8221; &#8220;Yes,&#8221; says Huck. &#8220;Well, den! Dad blame it, why `doan&#8217; he talk like a man? You answer me dat!&#8221;
</p>
<p>
Jim recognizes, and Huck does not, that all men share a common humanity. When we remember that this argument has been over differences in human language, when we remember that Twain boasted at the beginning of the book of accurately reproducing seven discrete dialects, and when we remember how thoroughly man is divided from man in the society of the Mississippi Valley, this little dialogue takes on an extraordinary richness of meaning.
</p>
<p>
But Huck&#8217;s only conclusion is that &#8220;you can&#8217;t learn a nigger to argue.&#8221; He does not understand how he has been beaten, since, as Henry Nash Smith has clearly demonstrated, he is incapable of handling abstract ideas. But the careful reader will notice that while Huck is not capable of handling abstract ideas, Jim is. Chapter XIV is clearly minstrel show humor, and the Jim of this chapter is equally clearly Jim as Mr. Bones. But within the framework of minstrel show dialogue Twain has created a cluster of meaning both significant and appropriate.
</p>
<p>
How much do we know about Jim at the end of Chapter XIV? We know that his character is partially a type-character, the comic stage Negro, but that it extends far beyond the limits of that type. We know that his superstitions are shared by some whites. We know that he is human enough to suffer physical pain. We know that he has a considerable amount of common sense, and that within the rather severe limits of his knowledge he is capable of handling abstract ideas. We know also that the ideas he expressesthat there is a kind of wealth in owning oneself, and that all men share a basic humanity&#1495;are most appropriate to his own situation.
</p>
<p>
Huck, of course, has learned much less than the reader. At the level of conscious thought, which is his weakest point, Huck has learned only that it is bad luck to handle a snake-skin, that Jim has &#8220;an uncommon level head for a nigger,&#8221; and that in spite of his common sense &#8220;you can&#8217;t learn a nigger to argue.&#8221; But in Chapters XV and XVI Huck is placed in situations where he, as well as the reader, is forced to learn something new about Jim.
</p>
<p>
Chapter XV is devoted to the justly famous episode in which Huck is separated from Jim in a fog. He gets back to the raft while Jim is asleep, and convinces him that the whole experience was a dream, which Jim proceeds to &#8220;interpret.&#8221; Then Huck points to the rubbish on the raft, evidence that the experience was real. He asks Jim what it means, and gets ready to laugh. But the laughter does not come. Instead, Jim tells him that &#8220;dat truck dah is <i>trash</i>; en trash is what people is dat puts dirt on de head er dey fren&#8217;s en makes `em ashamed.&#8217;&#8221; Not the least of Twain&#8217;s achievements is his ability to give such dignity and force to Negro dialect (not that Negro dialect in itself is weak or undignified; but literary use of it has generally been both). The Jim of this episode, although he still speaks in the dialect of the stage Negro, is not the stage Negro, but man in the abstract, with all the dignity that belongs to that high concept, and he teaches Huck that it is painful, not funny, to play childish tricks on human dignity. Huck says,
</p>
<p>
    It was fifteen minutes before I could work myself up to go and humble myself to a niggerbut I done it, and I warn&#8217;t ever sorry for it afterwards, neither. I didn&#8217;t do him no more mean tricks, and I wouldn&#8217;t done that one if I&#8217;d a knowed it would make him feel that way.
</p>
<p>
&#8220;If I&#8217;d a knowed.&#8221; It is easy to penetrate Huck&#8217;s feelings, but it is almost impossible to penetrate his mind. The idea that he hadn&#8217;t really known Jim has penetrated, however, and it comes briefly to the surface of Huck&#8217;s mind in Chapter XVI, when he wrestles for the first time with his &#8220;deformed conscience.&#8221; Huck thinks,
</p>
<p>
Here was this nigger which I had as good as helped to run away, coming right out flat-footed and saying he would steal his children&#1495;<i>children that belonged to a man I didn&#8217;t even know</i>; a man that hadn&#8217;t ever done me no harm. [my italics]
</p>
<p>
The ambiguity is evidence that Huck&#8217;s mind has been touched at last. And when Jim calls him &#8220;de bes&#8217; `fren&#8217; Jim&#8217;s ever had&#8221; and &#8220;de on&#8217;y white genlman dat ever `kep&#8217; his promise to ole Jim,&#8221; Huck&#8217;s reaction is &#8220;I just felt sick.&#8221; Huck is not one to overstate his emotions; &#8220;sick&#8221; is as strong a term as he ever uses for them. He uses it here, and when he watches the Grangerford boys being butchered, and when the King and the Duke are ridden on a rail, and when he sees the farmers sitting with their guns in the Phelps&#8217; parlor. Jim&#8217;s appeal to his friendship and his honor, coming immediately after he has betrayed Jim with a stupid trick and is about to betray him again, hits Huck very hard indeed. It makes it impossible for Huck to continue to be totally ignorant of who Jim is, and it makes it possible for him to win this first battle with his conscience. 
</p>
<p>
The Character of Jim and the Ending of `Huckleberry Finn. Chadwick Hansen.
<br />
DISCovering Authors. Online ed. Detroit: Gale, 2003.&nbsp;
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Discussion Questions</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn_discussion_questions/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2377</id>
      <published>2010-03-07T20:41:26Z</published>
      <updated>2008-03-18T14:30:44Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>1. Some critics claim that Jim is Huck&#8217;s &#8220;true father.&#8221; Defend or refute this statement.
</p>
<p>
2. What is the role of the Mississippi River in this book? What is the symbolic importance of the setting of the novel (land vs. river)? How is Huck&#8217;s trip down the river actually a passage into manhood?
</p>
<p>
3. What did freedom mean to Huck? What did it mean to Jim? Explain how the American Dream is or is not achieved by three characters in this novel. Begin by explaining what each character holds as his or her American Dream.
</p>
<p>
4. Huck&#8217;s sound heart and deformed conscience came into conflict in this novel. Describe one situation and tell how Huck resolves the conflict.
</p>
<p>
5. This novel is also a satire on human weaknesses. What human traits does he satirize? Give examples for each. What evidence do you find of Twain&#8217;s cynicism?
</p>
<p>
6. What is &#8220;civilization&#8221; in the mind of Huck? Compare and contrast society in Twain&#8217;s time to today&#8217;s society. Does time change the &#8220;message&#8221; of the book? What do you think makes this novel an important record of American culture?
</p>
<p>
7. Ernest Hemingway has said that all modern American literature comes from The Adventures of Huckleberry Finn. What features make this book modern? What features make this book American?
</p>
<p>
8. What makes The Adventures of Huckleberry Finn a controversial and banned book? What makes the book important and popular in today&#8217;s world? Huckleberry Finn has been called the &#8220;Great American Novel.&#8221; However, it is the sixth most frequently banned book in the United States. Discuss why this masterpiece is banned mostly in Christian academies and in all black institutions.
</p>
<p>
9. Discuss the qualities Huck possesses which are necessary for survival on the frontier. Give specific examples from the novel.
</p>
<p>
10. Appearance versus reality is a major theme in Huckleberry Finn. Using specifics from the book, discuss this very prevalent theme.
</p>]]></content>
    </entry>

    <entry>
      <title>Huckleberry Finn Study Guide</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huckleberry_finn/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2642</id>
      <published>2010-03-07T20:41:15Z</published>
      <updated>2010-03-08T21:07:14Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.flatheadreservation.org/images/phs/Study_Guide_Revised.pdf">Study Guide</a>
</p>]]></content>
    </entry>

    <entry>
      <title>The New Barbarians (1984)</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/the_new_barbarians_1984/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2890</id>
      <published>2010-02-20T07:16:58Z</published>
      <updated>2010-02-20T07:22:58Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>To reflect on and discuss Orwell&#8217;s <i>1984</i> is to do more than pay homage to a literary masterpiece. It is to reconsider and question ourselves, our society, our world; our past, our present and&#8212;above all&#8212;our future. For, whatever the date, <i>1984</i> will always remain as a menacing possibility, being not so much a year as a state of mind, a nightmare which we dread because we know it to be essentially true; because something in us responds ineluctably to Orwell&#8217;s warning cry. It is surely because Orwell has captured our own latent fears that this book, which has sold nearly 12,000,000 copies and has been translated into some 62 languages since it was first published in 1949, has exerted such an influence on the thought and language of our time. Orwell is no longer just an English writer; he has become a figure of global stature, whose two main works,<i> 1984</i> and <i>Animal Farm</i>, have made themselves familiar to millions. Thomas Mann once observed that &#8220;in our times the conscience of mankind expressed itself in political terms,&#8221; a remark that can be applied directly to Orwell&#8217;s writing. For Orwell&#8217;s greatness lies in his moral stature, while his peculiar contribution to modern literature lies in his application of morality, of the dictates of unsilenced conscience, to the politics of our bloody and murderous era.
<br />
. . .For Orwell, Nature was essentially good and technology essentially evil. Technology in <i>1984</i> is used to enslave men, not liberate them. The telescreen, the speakwrite, the helicopter, the versificators that compose the songs sung by the proles, the book-writing machine on which Julia labors, and all the rest of the technological paraphernalia of the novel exist only to aggrandize the power of the state and violate human nature. . .Orwell&#8217;s vision of the future would have been even grimmer had he been aware of the development of the computer, silicon chip technology, mind-altering drugs, and modern weaponry. As it is, the picture he paints of a society in which everyone is under surveillance for 24 hours a day is now not only possible but highly feasible. 
<br />
I remarked earlier that  <i>1984</i> had not been well received by our intelligentsia, who have, for the most part, either undervalued or systematically denigrated this work. . .Full Text (PDF)<a href="http://www.flatheadreservation.org/images/phs/The_New_Barbarians-edited.pdf">The_New_Barbarians-edited.pdf</a>
</p>]]></content>
    </entry>

    <entry>
      <title>MUS rubric and materials</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/mus_rubric_for_40_minute_timed_writings/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.1624</id>
      <published>2010-02-03T16:10:53Z</published>
      <updated>2010-02-03T16:10:52Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Forms"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Forms/"
        label="Forms" />
      <content type="html"><![CDATA[<p><a href="http://www.flatheadreservation.org/index.php/phs/printer/abcds_of_timed_writings/" title="ABCDs of Timed Writings">ABCDs of Timed Writings</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/MUS_rubric-1.pdf">MUS rubric (local copy)</a>
<br />
<a href="http://mus.edu/writingproficiency/rubric.pdf" title="MUS scoring rubric">MUS scoring rubric (MUS website)</a>
</p>
<p>
<a href="http://flatheadreservation.org/images/uploads/Prompts_1.pdf" title="Prompts 1">Prompts 1</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/MUS_writing_prompts.pdf" title="Prompts 2">Prompts 2</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Prompt_3.pdf">Prompts 3</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/teaching/printer/persuasive_writing_prompts/" title="List of Prompts">List of Prompts</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Hamlet Resource</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/hamlet_resource/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2881</id>
      <published>2010-01-25T17:35:17Z</published>
      <updated>2010-01-25T17:39:15Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Hamlet gives us seven soliloquies, all centered on the most important existential themes: the emptiness of existence, suicide, death, suffering, action, a fear of death which puts off the most momentous decisions, the fear of the beyond, the degradation of the flesh, the triumph of vice over virtue, the pride and hypocrisy of human beings, and the difficulty of acting under the weight of a thought &#8216;which makes cowards of us all&#8217;. He offers us also, in the last act, some remarks made in conversation with Horatio in the cemetery which it is suitable to place in the same context as the soliloquies because the themes of life and death in general and his attitude when confronted by his own death have been with him constantly. Four of his seven soliloquies deserve our special attention: &#8216;O that this too sullied flesh would melt&#8217;, &#8216;O what a rogue and peasant slave am I!&#8217;, &#8216;To be, or not to be, that is the question&#8217;, and &#8216;How all occasions do inform against me&#8217;.
</p>
<p>
Readings of these soliloquies are varied and diverse. However, three remarks are in order:
<br />
1. The density of Hamlet&#8217;s thought is extraordinary. Not a word is wasted; every syllable and each sound expresses the depth of his reflection and the intensity of his emotion. The spectator cannot but be hypnotized.
<br />
2. The language is extremely beautiful. Shakespeare was in love with words. His soliloquies are pieces of pure poetry, written in blank verse, sustained by a rhythm now smooth, now rugged, by a fast or a slow pace, offering us surprises in every line.
<br />
3. The soliloquies are in effect the hidden plot of the play because, if one puts them side by side, one notices that the character of Hamlet goes through a development which, in substance, is nothing other than the history of human thinking from the Renaissance to the existentialism of the twentieth century.
</p>
<p>
1. &#8216;O that this too sullied flesh would melt&#8217; (Act One, Scene Two)
<br />
<i>The Hamlet of the first soliloquy is an outraged man who, disgusted by his &#8216;sullied flesh&#8217;, can see no outcome to his disgust other than death. To free himself from the grip of his flesh he must put an end to his life. But there is the rub: God, the Everlasting, he tells us, does not allow one to act in this way. God still rules the universe and Hamlet must obey his strictures.</i>
</p>
<p>
2. &#8216;O all you host of heaven&#8217; (Act One, Scene Five)
</p>
<p>
3. &#8216;O what a rogue and peasant slave am I!&#8217; (Act Two, Scene Two)
<br />
<i>Some actors, including the very best, believe that the most beautiful soliloquy is that which comes at the end of Act Two, immediately after the first discussion between Hamlet and the travelling players. Here Hamlet is enraged, furious and rude. He lays himself, we feel, totally bare. He is no fool however. Recovering his spirits he devises a plan which will lead the king to betray himself. This is Shakespeare at the height of his theatrical prowess, stamping Hamlet&#8217;s language with relentless changes in tone, the peaks of rage inter-cut with short moments of profound depression or of incredulous questioning.</i>
</p>
<p>
4. &#8216;To be, or not to be, that is the question&#8217; (Act Three, Scene One)
<br />
<i>In the first soliloquy Hamlet submits to rules and prohibitions; in the second he imagines and rationalises and decides to remain in the world, for the moment at least. But he goes much further. Throughout the final act he pictures the final scene. There, where another dramatist would have given the dying Hamlet a long discourse on death, Shakespeare has Hamlet say just a few words of disconcerting simplicity, &#8216;the rest is silence&#8217;, precisely because Hamlet has already said everything before.</i>
</p>
<p>
5. &#8216;Tis now the very witching time of night&#8217; (Act Three, Scene Three)
</p>
<p>
6. &#8216;And so a goes to heaven&#8217; (Act Three, Scene 3)
</p>
<p>
7. &#8216;How all occasions do inform against me&#8217; (Act Four, Scene Four)
<br />
<i>The other two soliloquies are memorable because they reveal all the passionate nature of Hamlet&#8217;s personality. Observing young Fortinbras and his army on their way to conquer Poland-&#8217;an eggshell&#8217;, &#8216;a wisp of straw&#8217;-Hamlet, on the edge of despair, asks himself why he, when he has so many reasons, cannot stir himself to action, why he cannot carry out the necessary act of vengeance. Why? Why? The last lines of Act Four are very revealing:</i>
</p>]]></content>
    </entry>

    <entry>
      <title>Wind From an Enemy Sky Resources &amp;amp; Study Guide</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/wind_from_an_enemy_sky1/" />
      <id>tag:flatheadreservation.org,2010:index.php/phs/index/14.2720</id>
      <published>2010-01-14T15:39:10Z</published>
      <updated>2010-01-14T15:40:10Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Reading Schedule 
</p>
<p>
Jan 14 Chap 1-2 (1-25)
<br />
Jan 15 Chap 3-4 (26-39)
</p>
<p>
Jan 18 Chap 5-6 (40-52)
<br />
Jan 19 Chap 7-8 (53-65)
<br />
Jan 20 Chap 9-10 (66-85)
<br />
Jan 21 Chap 11-12 (86-100)
<br />
Jan 22 Chap 13-14 (101-111)
</p>
<p>
Jan 25 Chap 15-16 (112 - 128)
<br />
Jan 26 Chap 17-18 (129-151)
<br />
Jan 27 Chap 18-20 (152-173)
<br />
Jan 28 Chap 21-22 (174-187)
<br />
Jan 29 Chap 23-24 (188-198)
</p>
<p>
Feb 1 Chap 25-26 (199-215)
<br />
Feb 2 Chap 27-28 (216-226)
<br />
Feb 3 Chap 29-30 (227-241)
<br />
Feb 4 Chap 31-32 (242-258)
</p>
<p>
<b>Basic Chronology for Flathead Reservation</b>
</p>
<p>
1812: Canadian trapper David Thompson reaches Flathead Lake
<br />
1841: Jesuits (blackrobes) establish mission in this region
<br />
1846: Fort Connah (Hudson Bay Company) established
<br />
1855: Hellgate Treaty
<br />
1882: Railroad right-of-way agreement for Northern Pacific
<br />
1891: Removal of Charlo and his Salish band from the Bitterroot
<br />
1910: Opening of the Reservation to homesteaders
<br />
<a href="http://digitum.washingtonhistory.org/cdm4/item_viewer.php?CISOROOT=/ephemera&amp;CISOPTR=227&amp;CISOBOX=1&amp;REC=3" title="Flier published by Great Northern Railroad">Flier published by Great Northern Railroad</a> advertising the opening of the Reservation
</p>
<p>
<b>Local Historical Background</b>
</p>
<p>
1. First whites in area were fur traders and trappers. Angus McDonald built Fort Conah. This was part of the Hudson Bay Company, which was a Canadian company.The fort, which can be seen to the east of Highway 93 on Post Creek Hill, was closed after the northern border of the U.S.A. was established. 
</p>
<p>
Angus was married to Catherine, a Nez Perce woman. Many fur traders and trappers married Indian women, for the usual reasons of companionship but also for business reasons.
</p>
<p>
2. The Blackfeet in mid-19th century were powerful and had access to rifles from traders in Canada. They worked at suppressing access to trade among the Flatheads. The Flatheads had heard of the Jesuits whom they called &#147;Blackrobes&#148; and they wanted their power. So they sent two delegations to St. Louis to ask the Blackrobes to come. This led to Father DeSmet coming west and establishing a mission at St. Mary&#146;s in the Bitterroot.
</p>
<p>
3. The discovery of gold at Alder Gulch in Montana in the 1860s triggered a burst of whites entering the state. The presence of gold camps created a market for agriculture.
</p>
<p>
4. The Treaty of 1855 at Council Grove west of Missoula established the Flathead Reservation. It was one of several &#147;Stevens&#148; treaties negotiated at about the same time in the Pacific Northwest. Governor Isaac Stevens was sent to this area to establish peace between various tribes and the increasing numbers of settlers by formalizing the territory of each tribe.
</p>
<p>
5. For decades after the 1855 treaty, the Salish continued living in the Bitterroot. James Garfield came and negotiated an agreement that the Reservation would be established in the Flathead, but Chief Charlo claimed his &#147;mark&#148; had been forged on that negotiation and he continued living in the Bitterroot with his followers, until near starvation forced him to move. His rival was Chief Arlee, who forged better relations with the U.S. Government.
</p>
<p>
6. The Dawes Act of 1887 allowed reservations to be divided into individual alotments and the surplus land to be opened to nontribal homesteaders. This took affect on the Flathead Reservation in 1910. Before that happened, the free roaming herds of cattle, bison, and horses needed to be rounded up.
</p>
<p>
Rep. Joseph Dixon (Missoula attorney and owner of<i> the Missoulian</i>) argued in Congress that Article 6 of the 1855 Hellgate Treaty allowed dividing the Flathead Reservation. This is the language of the treaty: &#8220;The President may from time to time, at his discretion, cause the whole or such portion of such reservation as he may thing proper to be surveyed into lots, and assign the same to such individuals or families of the said confederated tribes as are willing to avail themselves of the privilege and will locate on the same permanent home.&#8221;
</p>
<p>
Dixon had relatives and business associates on the Reservation. Hundreds of letters of support from Montana businessmen were received. Tribal leaders fought the allotment policy every way they could.
</p>
<p>
A new roll of the confederated Flatheads was completed in anticipation of Allotment. It listed 2,133 persons entitled to allotments, including 640 Pend O&#8217;reilles (242 full bloods, 387 mixed, 7 adopted Indians, and 4 adopted whites); 557 Flatheads (233 fullbloods, 305 mixed, 16 adopted Indians, and 3 adopted whites); 556 Kutenais (210 fullbloods, 342 mixed, 2 adopted Indians, and 2 adopted whites); 197 Lower Pend Oreilles (161 fullbloods, 35 mixed, and 1 adopted white); 135 Spokanes (55 fullbloods, 80 mixed); and 48 other tribes (14 fullbloods and 34 mixed). Based on the enrollment, Indians were allowed allotments of 80 acres of farmland or 160 acres of grazing land. Except for further reserves for such things as townsites, a bison range, and power installations, the remaining lands were to be sold with the money to be used for the benefit of the tribes.
</p>
<p>
<b>The Place of Falling Waters</b>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Place_of_Falling_Waters-1.pdf">Notes, part 1</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Place_of_Falling_Waters-2.pdf">Notes, part 2</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Place_of_Falling_Waters-3.pdf">Notes, part 3</a>
</p>
<p>
<b>The Author</b>
</p>
<p>
D&#8217;Arcy McNickle, an enrolled Salish Kootenai on the Flathead Reservation, became one of the most prominent twentieth-century American Indian activists. He was born on January 14, 1904, to an Irish father, William McNickle, and a one-quarter Cree M&#233;tis mother, Philomene Parenteau. He grew up on the Flathead Reservation in St. Ignatius and went to mission and non-reservation boarding schools. In 1925 McNickle sold his land allotment on the Flathead Reservation so that he could raise the money necessary to study abroad at Oxford University. After returning to the United States, McNickle lived in New York City until he was hired by the Bureau of Indian Affairs in 1936.
<br />
&#160;
<br />
McNickle&#8217;s narrative is set in the fictionalized territory of the Little Elk Indians, presumably modelled after his own experiences on the Salish-Kootenai (Flathead) reservation in Mission Valley, Montana. As an adopted member of this tribe, with a Metis or mixed-blood Cree ancestry, McNickle moved easily between New York City and the Flathead reservation. Passing as white in New York City, McNickle provided a unique perspective on Western culture as well as a complex, or hybrid, vision of life with the Salish-Kootenai.
<br />
&#160;
<br />
Set in the early 1900s, the novel represents the struggle over the construction of a dam on the Little Elk reservation as an allegorical--or dehistoricized--struggle between colonizer and colonized. Just as the names in the novel are fictionalized, so the time period is hard to determine, though certain cultural signifiers (like the emergence of the automobile) help the reader to loosely place the narrative in time. Overall, however, there is a certain timeless feel to the narrative, depicting a seemingly eternal struggle between two antagonists.
<br />
&#32;
<br />
D&#8217;Arcy McNickle worked under Commissioner of Indian Affairs John Collier during the 1930s and 1940s. The Bureau of Indian Affairs first hired him as an administrative assistant, but by 1950 he had been appointed chief of the tribal relations branch, and he soon became an expert on Native American issues.
</p>
<p>
<b>Study Guide </b>
</p>
<p>
<b>Chapter 1  </b>       
<br />
 1. What is Bull&#8217;s reaction to hearing that a dam has been built across the river?
<br />
         
<br />
2. From the side of the mountain, Bull gets a view of the valley, which is now &#8220;a white man&#8217;s world.&#8221; He says it is &#8220;a world he sometimes passed through but never visited.&#8221; What is the difference between &#8220;passing through&#8221; and &#8220;visiting&#8221;?
<br />
         
<br />
3. Where has Antoine been and what was his experience like?
<br />
         
<br />
4. Understanding the ideas of sacred and profane is important to understanding this story. The place where the dam has been built is sacred to Bull&#8217;s people. This means the building of the dam was profane.
<br />
         
<br />
	 It had been a holy place, this mountain-locked meadow. &#8220;Be careful what you do here,&#8221; the boy had been told by his relatives. &#8220;This is a place of power. Be careful of what you think. Keep your thoughts good.... Don&#8217;t have angry thoughts here,&#8221; he was told....
<br />
	         
<br />
	&#8220;How can a man do this?&#8221; He raised his head and stared at the far-away ribbon of white water leaping down the high rock from its glacial bed. That had not disappeared. The water tumbled its way over stony passages to the head of the forested basin--but the basin was no more. The place where anger was to be left out of men&#8217;s thoughts was drowned (5-6).
<br />
         
<br />
What do you imagine the dam meant to those who built it?
<br />
         
<br />
5. What does Bull do when he sees the dam? What effect does this have?
</p>
<p>
6. How does his reaction affect Antoine?
<br />
         
<br />
7. Compare what Bull believes his grandson is thinking at the dam with what Antoine was really thinking. What does this suggest about their relationship?
<br />
         
<br />
8. What detail about Bull do you remember most vividly from this chapter?
</p>
<p>
<b>Chapter 2</b>
<br />
1. How and where did the government men want Bull to live? Why do you think they wanted this?
<br />
         
<br />
2. Find at least one detail about both Basil and Louis. Explain how the men are related to Antoine, in both the white and tribal relationship.
<br />
         
<br />
3. Who is Two Sleeps and where did he come from?
<br />
         
<br />
4. Who is the man who comes into the camp at night singing? How do the other men feel toward him? Why has he come?
<br />
         
<br />
5. It has been 30 years since Bull and his brother have talked. Why? How has the land changed since the men&#146;s earlier years when they got along?
<br />
         
<br />
6. What is Henry Jim&#146;s plan, and how does Bull feel about it?
</p>
<p>
<b>Chapter 3</b>
<br />
1.&nbsp; Contrast the way Bull and Henry Jim relate to white men.
<br />
         
<br />
2.&nbsp; Who is Toby Rafferty and why has Henry Jim come to see him?
<br />
         
<br />
3.&nbsp; What are four of the things the &#8220;men from afar countries, from somewhere east of the mountains&#8221; tell the Indians to do? What effect did these things have on the Indian families?
</p>
<p>
<b>Chapter 4</b>
<br />
1.&nbsp; How would you rate Toby Raferty&#146;s effectiveness on the Little Elk Reservation? Explain.
<br />
         
<br />
 2.&nbsp; How does the Indian tradition of the &#8220;midsummer dances"affect their farming? What would you do about this dilemma if you worked for the BIA?
<br />
         
<br />
3.&nbsp; Who is Edwards and what kind of person is he?
<br />
         
<br />
4.&nbsp; What is Raferty&#8217;s opinion of the training Washington DC gives the people they send to work with the Indians?
<br />
         
<br />
5.&nbsp; Compare Raferty&#146;s description of Henry Jim with the earlier description about him from the book? What is similar? Different? What do you think accounts for the variance?
</p>
<p>
<b>Chapter 5</b>
<br />
1. How are Pock Face and Theobold described? After being introduced, do you like these men or not? Explain.
<br />
         
<br />
2. What do Pock Face and Theobold do in this chapter, and how do they pull Bull into their actions? Do you think their actions are justifiable?
</p>
<p>
<b>Chapter 6</b>
<br />
 1.&nbsp; How is Wells involved with the medicine bundle and how does he think the Little Elk people would have acted differently if they had never lost the bundle? Do you agree with his speculation? Why or why not?
<br />
         
<br />
  2.&nbsp; What involvement did Henry Jim have with the bundle 30 years ago?
<br />
         
<br />
3.&nbsp; Why won&#146;t Wells help Raferty get the bundle back? What is the right thing to do?
</p>
<p>
<b>Chapter 7</b>
<br />
1. Where is Henry Jim going on Red Son at the beginning of the chapter? Why?
<br />
         
<br />
2.&nbsp; How do all Henry Jim&#8217;s kinsmen react to the message he is bringing them?
<br />
         
<br />
3.&nbsp; Why is Henry Jimand--then everyone else--singing?
<br />
         
<br />
4.&nbsp; Why won&#146;t the US Marshall let the group of Indians inside the agency?
<br />
         
<br />
5.&nbsp; Who is already inside the agency?
</p>
<p>
<b>Chapter 8</b>
<br />
1.&nbsp; What does Two Sleeps tell the women when he&#146;s ask to decide what should be done about Pock Face and Theobold? How do the women react to his answer?
<br />
         
<br />
2.&nbsp; What happens with the whiskey? Why do you think this section is included in the book?
<br />
         
<br />
3.&nbsp; What did Bull do to fool Antoine as Antoine was trying to find him? According to Veronica, why does he do this?
<br />
         
<br />
4.&nbsp; How does Bull react when Pock Face tells him what he has done? How does this compare with what you would expect?
</p>
<p>
<b>Chapter 9</b>
<br />
1.&nbsp;  After they find the body, what is the tension between Rafferty and Grant? How are they approaching the crime differently?
<br />
         
<br />
2.&nbsp; What do we learn about the man who was killed?
<br />
         
<br />
3.&nbsp; What seems to be Sid Grant&#146;s opinion of the Indian community? Find specific examples to back up your opinion.
<br />
         
<br />
4.&nbsp; What does Antoine do as he translates?
</p>
<p>
<b>Chapter 10</b>
<br />
1.&nbsp; Who is The Boy? What do you think are the most important pieces of information we get about him in this chapter?
<br />
         
<br />
2.&nbsp; What is confusing to Rafferty about the situation with the murder and how Bull and his people are involved?
<br />
         
<br />
 3.&nbsp; Who is singing in this chapter and what is the significance of that singing?
</p>
<p>
<b>Chapter 11</b>
<br />
1.&nbsp; Where are Bull and his men kept and why is this location chosen instead of the jail?
<br />
         
<br />
2.&nbsp; What does The Boy think working for the government does to an Indian man&#8217;s relationship with his own people? Why do you think he continues his job if he believes this?
<br />
         
<br />
3.&nbsp; What problem does Bull have with the white man&#146;s law that is keeping him at the agency?
<br />
         
<br />
4.&nbsp; What does Pock Face tell his people when he decides to speak?
<br />
         
<br />
5. How does Pock Face&#146;s dad, Louis, react to his son&#146;s announcement?
<br />
         
<br />
6. How does Bull react?
</p>
<p>
<b>Chapter 12</b>
<br />
1. What do Catherine and Lucille have in common?
<br />
         
<br />
2. What are all the women in camp doing or getting ready for?
<br />
         
<br />
3. What is Marie Louise&#146;s predicament and how does it turn out?
<br />
         
<br />
4. If you were a woman in camp, whose actions would probably most closely resemble your own? Why?
</p>
<p>
<b>Chapter 13</b>
<br />
1. Who arrives on the train?
<br />
         
<br />
2. Who is Adam Pell?
</p>
<p>
<b>Chapter 14</b>
<br />
1. Where does Antoine plan to go after leaving the women at his Uncle Jerome&#8217;s camp?
<br />
         
<br />
2. What plan for the Indians does the Long Armed man explain to Antoine at the boarding school?
<br />
         
<br />
3. Describe Antoine&#146;s experience at boarding school.
<br />
         
<br />
4.&nbsp; What brings Antoine back to the Little Elk Reservation?
</p>
<p>
<b>Chapter 15</b>
<br />
1.&nbsp; What disturbs Antoine about Henry Jim&#146;s place, and what does he see once he gets there that makes him feel better?
<br />
         
<br />
2.&nbsp; What is strange about Henry Jim lying on the ground? Why has Henry Jim moved out of his house? Does this make sense to you? Why or why not?
<br />
         
<br />
3.&nbsp; What did the government man tell Henry Jim that turned out not to be true?
<br />
         
<br />
4. How does Henry Jim seem to feel now about the decisions he&#146;s made in his life?
</p>
<p>
<b>Chapter 16</b>
<br />
1. What is Edward&#8217;s evaluation of Henry Jim&#146;s health?
<br />
         
<br />
2. What is Rafferty concerned about? What is the Boy&#8217;s advice when Rafferty questions him about how to proceed with the murder investigation?
<br />
         
<br />
3. What conclusion has Henry Jim come to about why his tribe just left him behind? Assuming his conclusion is correct, do you think they did the right thing?
<br />
         
<br />
4. How does Rafferty decide to handle the situation with Bull and the murder accusations as well the fact that Henry Jim needs his family near him as he is growing weaker?
</p>
<p>
<b>Chapter 17</b>
<br />
1. What happened many years ago that first caused Bull to become angry? What changed? How?
<br />
         
<br />
2. What types of things were the settlers doing at first that just made the natives laugh?
<br />
         
<br />
3. Initially, what did natives think would eventually happen to the settlers? How did things actually progress? What does Bull think his people&#146;s mistake was in dealing with the settlers?
<br />
         
<br />
4. Explain Bull&#146;s experience with the white school.
</p>
<p>
<b>Chapter 18</b>
<br />
1. What is the relationship between Adam Pell and Gen (or Ms. Thomas Hendricks Cook) and how is the boy who was murdered related to them?
<br />
         
<br />
2. What did Adam&#146;s friend Carlos do with his family&#146;s land, and how did people react?
<br />
         
<br />
3. What was Adam Pell&#146;s promise to Carlos that caused him to miss his sister&#8217;s Christmas gathering to go to Cuno, Peru?&nbsp; What did living in Cuno make Adam begin to think about?
<br />
         
<br />
4. What decision does Thomas Cooke make after listening to Adam and how does Gen react?
</p>
<p>
<b>Chapter 19</b>
<br />
1. Why is the design of the dam impressive to the engineer? He uses the word &#8220;beautiful&#8221; in his description. What adjective would you use?
<br />
         
<br />
2. How did the US Marshal and his men find the gun? What two questions are still left unanswered even after the gun is discovered?
</p>
<p>
<b>Chapter 20</b>
<br />
1. What is the first thing Bull says to the group when he arrives at the agency? How is this received?
<br />
         
<br />
2. How are the settler&#8217;s laws and native ways of handling crimes different? What are the benefits and drawbacks of each system?
<br />
         
<br />
3. Why is Bull afraid of Sid Grant?
<br />
         
<br />
4. What are the contents of the two packages from Bull&#146;s camp?
<br />
         
<br />
5. What two reasons does the Marshall give for his belief that Bull is not the murderer?
<br />
         
<br />
6. Who interrupts the meeting at the agency, and what is his message?
<br />
         
<br />
7. What stops Bull from rising to confront Adam Pell when he realizes he was the one responsible for the dam?
<br />
         
<br />
8. How does Thomas Cooke react to Pock Face&#8217;s declaration, and what does he recommend?
<br />
         
<br />
 9. What realization has shocked Adam Pell? In what way, besides the trouble over the dam, is Adam Pell involved in the trouble on the Little Elk Reservation? After the discussion, what does he want to do and why?
</p>
<p>
<b>Chapter 21</b>
<br />
1. What story did Rafferty and Doc Edwards make up to explain to the government men at Henry Jim&#8217;s funeral who asked why his body was taken from a teepee and not his &#8220;elegant house,&#8221; and why they were taking his horse along to the burial?
<br />
         
<br />
2. What did Henry Jim&#146;s burial service entail?
<br />
         
<br />
3. How long was Rafferty on the Little Elk Reservation before any natives actually started taking to him? Does this seem a long or short amount of time? Explain.
<br />
         
<br />
4. What does Henry Two Bits come to ask Rafferty? What does he have that surprises Rafferty?
<br />
         
<br />
5. How have things changed between The Boy and the rest of the Little Elk people?
<br />
         
<br />
6. What does Bull ask The Boy to do for him?
</p>
<p>
<b>Chapter 22</b>
<br />
1.&nbsp; How does it seem things are going to turn out for Pock Face? What leads you to this conclusion?
<br />
         
<br />
2.&nbsp; What behavior of Bull&#146;s, in his younger days when he was still drinking, sometimes scared others? What ended Bull&#146;s drinking days?
</p>
<p>
<b>Chapter 23</b>
<br />
1.&nbsp; What does Adam Pell realize American laws made legal that he feels is wrong (though none of his important friends seem to agree)? What did the law allow that Rafferty considered &#8220;thievery&#8221;? How does he think the white men who came to the reservation were also &#8220;exhorted&#8221;?
<br />
         
<br />
2.&nbsp; What two things resulted from the dam?
<br />
         
<br />
3.&nbsp; How does Adam react to the judge&#146;s claim that these exploits against the Indians were &#8220;hasty and not well considered&#8221;? 
</p>
<p>
<b>Chapter 24</b>
<br />
1. What happens to Two Sleeps?
</p>
<p>
<b>Chapter 25</b>
<br />
1. The Little Elk people always get together for storytelling and remembering in the winter, but there are some things different this winter from the last. What are they?
<br />
         
<br />
 2.&nbsp; Describe the circumstances that led to Antoine going to a boarding school.
<br />
         
<br />
3. Describe how Celeste, Antoine, Veronica and Bull are related and how their relationships have changed over the years.
<br />
         
<br />
4. Why does Bull want to tell old stories &#8220;those his father knew&#8221; instead of telling stories from his own life? Do you think anything similar happens in today&#8217;s society?
<br />
         
<br />
5. Who is Featherboy really? What does he bring the Little Elk people and why is the bundle important, or why do the people need to protect it?
</p>
<p>
<b>Chapter 26</b>
<br />
1. Why does Adam Pell want to bring the Little Elk people a gift?&nbsp; What does he plan to give them? Where did this come from and why does he think it is a good gift? Do you think his gesture is appropriate? Explain.
</p>
<p>
<b>Chapter 27</b>
<br />
1. What messages does The Boy bring to Bull&#146;s camp?
<br />
         
<br />
2. How does Louis feel about the current situation they are all in? What does he think they should do? What is Bull&#146;s reply?
</p>
<p>
<b>Chapter 28</b>
<br />
1. How has the Little Elk Valley changed over the last few years? Which changes are positive? Which are negative?
<br />
         
<br />
2. What does Pock Face think they should do about the requests they receive? What does Louis think? What does he want to do?
</p>
<p>
<b>Chapter 29</b>
<br />
1. What problem does Adam Rafferty think would arise if all 2,000 Indians actually decided they wanted to farm, as the government wants them to?
<br />
         
<br />
2. How does Adam Pell feel about the government&#146;s Indian policy now he is aware of it?
<br />
         
<br />
3. What do Doc Edwards and Rafferty want Pell to do instead of telling Bull what actually happened to the bundle? Why? Do you think their plan is wise? Explain.
<br />
         
<br />
4. Why does Adam think his object is a good substitute for the bundle?
</p>
<p>
<b>Chapter 30</b>
<br />
1. Where are Bull and his group going, and what makes Bull suspicious?
</p>
<p>
<b>Chapter 31</b>
<br />
1. Where is Veronica going?
<br />
         
<br />
2. What do Veronica and Two Sleeps end up doing?
<br />
         
<br />
3. What does Veronica see that Two Sleeps seems to miss?
<br />
         
<br />
4. What does Two Sleeps see and understand?
</p>
<p>
<i>Chapter 32</i>
<br />
1.&nbsp; What does Rafferty think of The Boy? Of Bull?
<br />
         
<br />
2. What does Rafferty confront Adam about, then then warn him about again a few pages later?
<br />
         
<br />
3.&nbsp; What chance does Rafferty think they&#146;ve missed by telling the Little Elk people their sacred object is gone?
<br />
         
<br />
4. Why has Adam Pell brought Mr. Davis?
<br />
         
<br />
5. What does Adam Pell tell Bull and his men? How do Bull&#8217;s men react?
<br />
         
<br />
6. What does Louis do that effectively ends the meeting?
<br />
         
<br />
7. Whose acts would you say are noble in the end? How do you decide?
<br />
         
<br />
8.&nbsp; What do you think of the ending of the book? Is it strong or weak? Interesting? Regardless of whether your like or dislike it, does it seem appropriate? Why or why not?
<br />
         
<br />
9. Go back to the first sentence of the book: &#8220;The Indian named Bull and his grandson took a walk into the mountains to look at a dam built in a cleft of rock, and what began as a walk became a journey into the world."After finishing, what do you think this means?
<br />
         									
<br />
10. What parts of the book seems to reflect historical events?
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Wind_Student_Study_Guide.pdf">PDF Version of Study Guide (7 pages)</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/AP_Prompts1.pdf">Advanced Placement Writing Prompts</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Film Library</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/film_library/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2875</id>
      <published>2009-12-17T15:52:42Z</published>
      <updated>2009-12-17T15:53:42Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<iframe width="500" height="400" frameborder="0" scrolling="no" src="http://sheet.zoho.com/publish/mumphrey/film-titlesd"> </iframe>]]></content>
    </entry>

    <entry>
      <title>Hamlet resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/hamlet_resources/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2868</id>
      <published>2009-11-30T06:13:02Z</published>
      <updated>2009-11-30T06:15:03Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>A <a href="http://web.archive.org/web/20041013134453/www.netcomuk.co.uk/~iandel/index.html" title="short course">short course</a> on Hamlet
</p>]]></content>
    </entry>

    <entry>
      <title>Turnitin</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/turnitin/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2867</id>
      <published>2009-11-24T19:32:36Z</published>
      <updated>2009-11-24T19:32:36Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Thank you for contacting the Turnitin help desk regarding your question about emails. Emails are only used when logging into there accounts and submitting papers that is it really. The digital receipt is generated after submissions. You can set up email address using numbers instead of names, I have pasted instructions to create accounts with no email addresses.
<br />
If you need further assistance please let me know. 
</p>
<p>
******There is a method for students without an e-mail address to create an account. However, this means they will need to write down and keep in a safe place their secret question and answer, as this will be the only way for them to retrieve their password in the future. There is no other way we can give out the student&#8217;s password except by secret question and answer confirmation, unless the student has a valid e-mail address for
<br />
us to send automatic password resets to. 
</p>
<p>
Students will also need a class ID number (seven digits, found to the left of the class name on the instructor&#146;s page) as well as the enrollment password to join the class.&nbsp; Please note, instructors should not add students with fake e-mail addresses into their class; students without a valid e-mail address must enroll themselves into the class. If a student looses their secret question and answer combination, they will need to create a new account and will not be able to access their old account.
</p>
<p>
Here are the instructions for students without an e-mail account to create a user profile on Turnitin:
</p>
<p>
To create your account, please do the following:
<br />
1. Go to <a href="http://www.turnitin.com">http://www.turnitin.com</a>
<br />
2. Click on the &#8220;New Users&#8221; link below the sign in box.
<br />
3. Follow the profile creation wizard.
<br />
4. When you are prompted to enter an e-mail address, please enter your email address in this format:
<br />
FirstnameLastname@(schoolname).turnitin.com
<br />
If this tells you another person has used this login name previously, use this format:
<br />
FirstNameMiddleInitialLastName@(schoolname).turnitin.com 
<br />
or
<br />
LastNameFirstname@(schoolname).turnitin.com
</p>
<p>
Any other e-mail address entered may actually exist and register an unknown person on Turnitin. That person could then control your account. Please do not use any &#8216;false&#8217; email address or domain name except as shown above.
</p>
<p>
For example:
<br />
JohnDSmith@Harvard.Turnitin.com
<br />
SmithElizabeth@StollHigh.Turnitin.Com
</p>
<p>
5. Continue with the profile creation process as prompted. At the end of the creation please log into your account. If you have not written down your password and secret question and answer, do so now.&nbsp; View your secret question and answer while logged in, go to &#145;user info&#146; at the top of your page and click on it. This will bring you to a screen from which you can change your password or secret question and secret answer.
</p>
<p>
Any other e-mail address entered may actually exist and register an unknown person on Turnitin. That person could then control your account. Please do not use any &#8216;false&#8217; email address or domain name except as shown above.
</p>
<p>
Please write down your secret question and answer choice, as well as the e-mail login @(schoolname).turnitin.com, as these will be vital to using Turnitin. If you forget your password and do not have an actual e-mail address, we will only be able to re-set your password through the &#8216;password help&#8217; link on our website if you enter the correct secret question and the
<br />
answer to it. If you loose this information, you will not be able to access your Turnitin account again. Make sure your &#8220;Email&#8221; login and your password as well as the secret question and answer are in a place they will not be lost. If you need to, make a copy of them.
</p>
<p>
When you finish and exit the wizard, you can log in to your account by entering the @turnitin.com e-mail address and the password you created in the appropriate fields of the sign in box and pressing &#8220;Log In.&#8221;
</p>
<p>
You can also find our student quick start video at:
<br />
<a href="http://www.turnitin.com/static/training_support/student_training.html">http://www.turnitin.com/static/training_support/student_training.html</a>
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Crime and Punishment Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/crime_and_punishment_resources/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2865</id>
      <published>2009-11-23T21:09:20Z</published>
      <updated>2009-11-23T21:10:20Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.shmoop.com/crime-and-punishment/botw/resources?d=http://www.youtube.com/watch?v=p49ZaBg_zBI" title="Video Preview">Video Preview</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Crime and Punishment Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/crime_and_punishment_resources1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2866</id>
      <published>2009-11-23T21:09:07Z</published>
      <updated>2009-11-23T21:12:07Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.shmoop.com/crime-and-punishment/botw/resources?d=http://www.youtube.com/watch?v=p49ZaBg_zBI" title="Video Preview">Video Preview</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Hollywood&#8217;s Story Formula</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/hollywoods_story_formula/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2863</id>
      <published>2009-11-23T03:28:38Z</published>
      <updated>2009-11-23T03:31:38Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.flatheadreservation.org/images/phs/Six-stages-of-Story.pdf">The Six Stages of Story PDF</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Frederick Douglass resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/handouts_and_worksheets_for_frederick_douglass/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2633</id>
      <published>2009-11-18T19:27:52Z</published>
      <updated>2009-12-07T04:40:51Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><span class="img"><img src="http://www.flatheadreservation.org/images/phs/Frederick_Douglass_thumb.jpg" width="300" height="328" /></span><b>Why read Frederick Douglass?</b> 
</p>
<p>
We know that he was one of the foremost leaders of the abolitionist movement, which fought to end slavery within the United States in the decades prior to the Civil War. We also know Douglass was a brilliant speaker; he was asked by the American Anti-Slavery Society to engage in a tour of lectures, and so became recognized as one of America&#8217;s first great black speakers. He won world fame when his autobiography was publicized in 1845. 
</p>
<p>
Although this classic text will shock and inspire any reader, just as it did when it first appeared in 1845, it does more than shock. It still speaks to contemporary readers with stirring insights into Douglass&#8217; discovery of the meaning of freedom. It&#8217;s a useful book for anyone looking to find new hope for their own lives.
</p>
<p>
Frederick Douglass shows us how one one&#8217;s personal plight has roots in larger public issues, opening up the possibility of new roles to play in society and a new sense of responsible citizenship. For example, when Douglass taught himself to read and write, starting as a boy of nine, it was because he realized even then that literacy was the key to personhood and to his vision of freedom. &#8220;If you teach that nigger how to read,&#8221; young Frederick overheard his master warning his wife, &#8220;it would forever unfit him to be a slave.&#8221; He did learn to read, and it did inoculate him against the slave mentality. This was his first step in understanding his condition, and thereby taking a hand in his own fate.
</p>
<p>
Later, when a white farmer, Edward Covey, determined to break his spirit, to fit him for field labor, Douglass fought back because at age sixteen he had begun to understand that what was at stake was not simply another beating. He recognized that he had arrived at a defining moment aimed at making him &#8220;a slave for life,&#8221; as he had now learned to phrase it. &#8220;This battle with Mr. Covey was the turning-point in my career as a slave. . . . My long-crushed spirit rose, cowardice departed, bold defiance took its place; and I now resolved that, however long I might remain a slave in form, the day had passed forever when I could be a slave in fact.&#8221;
</p>
<p>
Finally, after his escape four years later, Douglass devoted himself to the abolitionist movement, telling these stories over and over because he understood that his own destiny had depended on seeing beyond personal suffering to its significance as part of the slave system.
</p>
<p>
It teaches us one meaning of courage--the understanding that what we say and do can change our lives in a split second. Not only our lives. But the people in our own time. It was true in 1845 and it is true today. The book invites questions like the following: How do people learn to face the things that life will demand? Where do people get their courage, dignity, and knowledge of righteousness?
</p>
<p>
After the book made him famous, Douglass served as an adviser to President Abraham Lincoln during the Civil War and fought for the adoption of constitutional amendments that guaranteed voting rights and other civil liberties for blacks. Douglass provided a powerful voice for human rights during this period of American history and is still revered today for his contributions to a more just world.
</p>
<p>
<b>Worksheets and Handouts</b>
</p>
<p>
Study Guide: Most of the questions for the final exam will be drawn from this: <a href="http://www.flatheadreservation.org/images/phs/Douglass-study-guide-vocabulary-formatted.pdf">Study Guide (8 page PDF)</a>
</p>
<p>
Worksheet: <a href="http://www.flatheadreservation.org/images/phs/Douglass-close_reading_1.pdf">Reading Douglass&#8217; Rhetoric</a>
<br />
   &nbsp;&nbsp;&nbsp; (<a href="http://www.flatheadreservation.org/images/phs/Modes_of_Persuasion_(from_Aristotle)logos-ethos-pathos.pdf">Handout</a> on Aristotle&#8217;s &#8220;modes of persuasion"--logos, ethos, pathos--to be used with the &#8220;Reading Douglass&#8217; Rhetoric&#8221; worksheet)
<br />
Worksheet: <a href="http://www.flatheadreservation.org/images/phs/Douglass-close-reading_style-chap4.pdf">Analyzing Douglass&#8217; Style</a>
<br />
   &nbsp;&nbsp;&nbsp; (<a href="http://www.flatheadreservation.org/images/phs/Style-outline_of_terms.pdf" title="Outline">Outline</a> of the Elements of Style, to be used with the &#8220;Analyzing Douglass&#8217; Style&#8221; worksheet)
<br />
Worksheet: <a href="http://www.flatheadreservation.org/images/phs/Douglass-close-reading_2_Spirituals.pdf">Slave Spirituals: Myth and Reality</a>
<br />
Worksheet: <a href="http://www.flatheadreservation.org/images/phs/Douglas_Irony_chapsI-IX.pdf">Irony Chart</a>
<br />
Worksheet: <a href="http://www.flatheadreservation.org/images/phs/Douglass_theme-chapsVI-XI.pdf">Theme to Thesis</a>
<br />
Worksheet:<a href="http://www.flatheadreservation.org/images/phs/Douglass-characterization_chapi-11wpd.pdf">Characterization: What Virtues were Important to Douglass&#8217; Greatness?</a>
<br />
Writing Assignment: <a href="http://www.flatheadreservation.org/images/phs/autobiographical_paragraph_douglass.pdf">Autobiographical Paragraph</a>
</p>
<p>
<a href="http://www.sparknotes.com/lit/narrative/">Spark Notes</a>
<br />
<a href="http://www.cliffsnotes.com/WileyCDA/LitNote/Narrative-of-the-Life-of-Frederick-Douglass-Study-Help-Essay-Questions.id-84,pageNum-58.html" title="Cliff Notes">Cliff Notes</a>
</p>
<p>
<b>INTRODUCTION</b>
</p>
<p>
The compelling autobiography of an extraordinary man born into slavery, Narrative of the Life of Frederick Douglass, an American Slave is also a powerful inquiry into the question of what it means to be human. From the opening sentences of the narrative, Douglass delineates the context from which this question emerges&#151;the fact that slave owners typically thought of slaves as animals. Douglass does not know how old he is, and he quickly asserts that this is not unusual, since most slaves &#8220;know as little of their ages as horses know of theirs&#8221; (p. 47). It is instructive that this initial comparison of slaves to animals does not serve to express something about the minds of the slave owners; instead, it expresses something about the minds of the slaves that is the consequence of being born into an environment constructed and carefully maintained by their owners. In an environment that does not permit the idea that slaves are human, the only perspective available to them is that of their owners. Their own perspective therefore becomes an additional barrier to thinking of themselves as human.
</p>
<p>
Learning to read and write is essential to the process whereby Douglass comes to see himself as human. As he describes it, the acquisition of these skills is inseparable from the dawning of self-consciousness. Reading gives Douglass access to a new world that opens before him, but the strongest effect of his literacy is the light it casts on the world he already knows. His anguish is so great that he &#8220;would at times feel that learning to read had been a curse rather than a blessing&#8221; (p. 84). It allows him to see his &#8220;wretched condition, without the remedy&#8221; (p. 84). Self-consciousness, the trait that most distinguishes humans from animals, produces such despair in Douglass that he confesses he often wished himself a beast.
</p>
<p>
Douglass portrays the breadth of slavery&#8217;s ability to dehumanize through his insights into the mentality of slave owners. Douglass suggests that if slaves are made rather than born, the same is sometimes true of slave owners. The mistress who began teaching him to read and write &#8220;at first lacked the depravity indispensable to shutting [him] up in mental darkness&#8221; (p. 81). Under the influence of her husband and, more generally, the institution of slavery, &#8220;the tender heart became stone, and the lamblike disposition gave way to one of tiger-like fierceness&#8221; (p. 82). The mistress not only stops teaching Douglass to read and write, but she is even more vigilant than her husband in preventing him from learning. The transformation of his mistress raises the question of how much of the behavior of slave owners toward their slaves was learned and how much was internally motivated. Douglass would have us believe that the mistress was the victim of her circumstances, yet the brutality other slave owners seemed to come by so easily makes it difficult to determine whether the behavior was learned or inherent.
</p>
<p>
Edward Covey undoubtedly counts among the slave owners who play the role as if born for it; his harsh treatment breaks Douglass &#8220;in body, soul, and spirit&#8221; (p. 105). Following his eloquent lament for the freedom he cannot have, represented by the ships sailing on Chesapeake Bay, Douglass writes, &#8220;You have seen how a man was made a slave; you shall see how a slave was made a man&#8221; (p. 107). The first part of this statement could refer to the methods employed by Covey, if not to all the owners at whose hands Douglass suffered. The second part refers to the story that follows, in which Douglass resists the whipping Covey intends to give him for disobeying. They fight for two hours, with Covey &#8220;getting entirely the worst end of the bargain&#8221; (p. 113). Douglass is never whipped again, and he describes this incident as &#8220;the turning-point in [his] career as a slave&#8221; and says that it &#8220;revived within [him] a sense of [his] own manhood&#8221; (p. 113). Douglass emphasizes the importance of literacy in developing his sense of himself as human. Is he suggesting, though, that his refusal to submit to Covey&#8217;s punishment was ultimately more important than his ability to read and write in shaping his sense of self?
</p>
<p>
In a letter that prefaces the narrative, Wendell Phillips, social activist and friend of Douglass&#8217;s, recalls &#8220;the old fable of &#8216;The Man and the Lion,&#8217; where the lion complained that he should not be so misrepresented &#8216;when the lions wrote history&#8217;&#8221; (p. 43). As Phillips observes, Douglass&#8217;s narrative is history written from the perspective of those who previously had no voice. The very existence of the narrative makes it a testament to its author&#8217;s humanity and, therefore, a document of revisionist history. However, what gives Douglass&#8217;s narrative its universal relevance is his acute awareness of the complexities of human psychology. He observes that slaves usually spoke of themselves as content and of their masters as kind, concluding that slaves &#8220;suppress the truth rather than take the consequences of telling it, and in so doing prove themselves a part of the human family&#8221; (p. 62). Douglass is ever mindful that our humanity encompasses our failings no less than our capacity for nobility.
</p>

<p>
<b>ABOUT FREDERICK DOUGLASS</b>
</p>
<p>
Frederick DouglassFrederick Douglass was born into slavery in rural Maryland in 1818. Sent to work in Baltimore, he was taught to read by the mistress of the house and regarded this achievement as a turning point in his life. Another such point was his violent resistance to a beating by the man to whom he had been bound as a field slave at age seventeen. Three years later, he escaped to the North, married, and worked menial jobs until his debut as an orator at an antislavery convention in 1841.
</p>
<p>
To expand his audience and to document the authenticity of his story, Douglass published his autobiography, Narrative of the Life of Frederick Douglass, an American Slave, in 1845. The book was critically acclaimed and sold well both in the United States and in Europe. Douglass left for England later the same year, where he spent two years writing and lecturing. He returned to the United States after abolitionist friends purchased his legal emancipation.
</p>
<p>
From 1847 to 1863, Douglass published his own weekly paper, The North Star, leading to a break with his mentor William Lloyd Garrison. Douglass also produced a number of other periodicals, as well as two extensions of his narrative&#151;Life and Times of Frederick Douglass and My Bondage and My Freedom. In 1848, he played a prominent role at the women&#8217;s rights convention in Seneca Falls, and he was a lifelong supporter of the women&#8217;s suffrage movement. During the Civil War he was an adviser to President Lincoln and recruited blacks, including his own sons, for the Union army. He was appointed to several government positions, including recorder of deeds for the District of Columbia and United States minister and consul general to Haiti. Douglass died in 1895.
</p>
<p>
<b>What is Freedom?</b>
<br />
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/b2c2L37QIuc&amp;hl=en_US&amp;fs=1&amp;"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/b2c2L37QIuc&amp;hl=en_US&amp;fs=1&amp;" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>
<br />
 
</p>
<p>
<b>DISCUSSION QUESTIONS</b>
</p>
<p>
   1. Why does Douglass believe &#8220;Slavery proved as injurious to [his master&#8217;s wife] as it did to [him]&#8221; (p. 81)? 
<br />
   2. After his confrontation with Mr. Covey, what does Douglass mean when he writes &#8220;however long I might remain a slave in form, the day had passed forever when I could be a slave in fact&#8221; (p. 113)?&nbsp;      
<br />
   3. Why is Douglass able to &#8220;understand the deep meaning of those rude and apparently incoherent songs&#8221; (p. 57) sung by slaves only when he no longer is a slave himself?&nbsp;      
<br />
   4. When Douglass writes, &#8220;You have seen how a man was made a slave; you shall see how a slave was made a man&#8221; (p. 107), what does he understand a man to be?&nbsp;      
<br />
   5. Douglass describes knowledge as &#8220;valuable bread&#8221; (p. 83) and the Liberator, an anti-slavery paper, as his &#8220;meat and drink&#8221; (p. 151). How does literacy sustain him?&nbsp;      
<br />
   6. How is Douglass able to maintain his religious faith when that of his owners is used to justify their treatment of him?&nbsp;      
<br />
   7. Why does Douglass consider holiday celebrations as part of the &#8220;inhumanity of slavery&#8221; (p. 115)?&nbsp;      
<br />
   8. Why does Douglass describe the sails on Chesapeake Bay as &#8220;so many shrouded ghosts&#8221; (p. 106)? 
<br />
   9. To what extent should a piece of autobiographical writing be regarded as &#8220;factual&#8221;?&nbsp;      
<br />
   10. Can literacy be a curse as well as a blessing? 
</p>
<p>
Free <a href="http://www.freeaudio.org/fdouglass/narrative.html" title="audio recording">audio recording</a> of entire book
</p>]]></content>
    </entry>

    <entry>
      <title>The Crucible recources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/the_crucible1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2579</id>
      <published>2009-11-16T05:43:21Z</published>
      <updated>2010-02-01T20:51:20Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><span class="img"><img src="http://www.flatheadreservation.org/images/phs/Abigail-John_thumb.jpg" width="450" height="300" /></span><br />Background: <a href="http://www.17thc.us/docs/fact-fiction.shtml" title="A note on the historical accuracy of the play">A note on the historical accuracy of the play</a>
</p>
<p>
<a href="http://www.commentarymagazine.com/viewarticle.cfm/hysteria-in-four-acts-13663" title="A psychiatrist's explanation of hysteria">A psychiatrist&#8217;s explanation of hysteria</a> (scroll down for his discussion of the Salem Witch Trials)
</p>
<p>
Study Guide Questions <a href="http://www.flatheadreservation.org/images/phs/crucible-study_guide.pdf">crucible-study_guide.pdf</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Crucible_Packet.pdf">Complete Packet of Worksheets</a>
</p>
<p>
<b>By the time we finish studying this play, you will be expected to turn in the following materials:</b>
</p>
<blockquote>
<p>
A. A &#8220;conflicts&#8221; graphic organizer for Act One: <a href="http://www.flatheadreservation.org/images/phs/Crucible-act1-conflict.pdf">Crucible-act1-conflict.pdf</a>
<br />
B. A &#8220;changing status&#8221; graphic organizer for Act Two: <a href="http://www.flatheadreservation.org/images/phs/Crucible-act4-status_changes.pdf">Crucible-act2-status_changes.pdf</a>
<br />
C. A &#8220;motivation&#8221; chart for Act Three: <a href="http://www.flatheadreservation.org/images/phs/Crucible-act3-status.pdf">Crucible-act3-character.pdf</a>
<br />
D. An &#8220;action/explanation&#8221; chart for Act Four<a href="http://www.flatheadreservation.org/images/phs/Crucible-act4-character.pdf">Crucible-act4-character.pdf</a></p></blockquote>
<p>
<span class="img"><img src="http://www.flatheadreservation.org/images/phs/11315956_gal_thumb.jpg" width="450" height="342" /></span><br />In addition, you will need to write a 600-word essay about the play. Your essay should answer one of these questions:
</p>
<blockquote><p>1. How does Proctor&#8217;s major dilemma change in the course of the play?
<br />
2. How does Reverend Hale change during the play?
<br />
3. Compare or contrast the role of Abigail Williams with that of Elizabeth Proctor.
<br />
4. Which three characters are most to blame for the injustice that takes place in Salem?
<br />
5. Discuss Elizabeth as a symbol of truth.</p></blockquote>
<p>
<img src="http://www.flatheadreservation.org/images/phs/11321111_gal_thumb.jpg" width="450" height="342" /><br />In addition to the essay itself, you will need to turn in:
</p>
<blockquote><p>A. A completed &#8220;plot to theme&#8221; worksheet: <a href="http://www.flatheadreservation.org/images/phs/From_Plot_to_Theme-story_analysis.pdf">http://www.flatheadreservation.org/images/phs/From_Plot_to_Theme-story_analysis.pdf</a>
</p>
<p>
Here&#8217;s a sample worksheet that I filled out: <a href="http://www.flatheadreservation.org/images/phs/Notes_and_analysis_of_Crucible-truth_and_lies.pdf">http://www.flatheadreservation.org/images/phs/Notes_and_analysis_of_Crucible-truth_and_lies.pdf</a>
<br />
B. A thesis/outline worksheet: <a href="http://www.flatheadreservation.org/images/phs/thesis-worksheet.pdf">http://www.flatheadreservation.org/images/phs/thesis-worksheet.pdf</a></p></blockquote>
<p><img src="http://www.flatheadreservation.org/images/phs/jail-wagon_thumb.jpg" width="450" height="300" /><br /><img src="http://www.flatheadreservation.org/images/phs/judge_thumb.jpg" width="450" height="300" /><br /><a href="http://www.flatheadreservation.org/images/phs/Crucible_-_characters.pdf">List of Characters</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Crucible-act4-status_changes.pdf">Crucible-act4-status_changes.pdf</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Crucible-act4-character.pdf">Crucible-act4-character.pdf</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Crucible-act3-status.pdf">Crucible-act3-status.pdf</a>
</p>
<p>
<b>Writing About The Play</b>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Notes_and_analysis_of_Crucible-truth_and_lies.pdf" title="Plot to Theme worksheet">Plot to Theme worksheet</a>: A Journey Toward Truth: John Proctor&#8217;s Choices in <i>The Crucible</i>
<br />
<a href="http://www.flatheadreservation.org/images/phs/From_Plot_to_Theme-story_analysis.pdf" title="Story Analysis Worksheet">Story Analysis Worksheet</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/the_crucible_essay_topics/" title="Essay topics for <i>The Crucible</i>&#8221;>Essay topics for <i>The Crucible</i></a>
</p>]]></content>
    </entry>

    <entry>
      <title>Analysis of &#8220;Februray 2, 1968&#8221;</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/analysis_of_februray_2_1968/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2857</id>
      <published>2009-11-15T04:48:47Z</published>
      <updated>2009-11-15T04:49:47Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><b>February 2, 1968</b>
</p>
<p>
In the darkness of the moon, in flying snow, in the dead of winter,
<br />
war spreading, families dying, the world in danger,
<br />
I walk the rocky hillside, sowing clover.
</p>
<p>
- Wendell Berry 
</p>
<p>
With only a date for a title, the poem invites contemplation about a particular moment in time. Anyone who remembers 1968 will suspect the poem is about trouble. During 1968 the Tet Offensive changed America&#146;s attitude toward the Vietnam War; an incumbent president, Lyndon Johnson, announced he would not seek re-election; Martin Luther King, Jr. and Robert F. Kennedy were gunned down in public; and 12,000 police and 15,000 army regulars and National Guardsmen bloodily suppressed rioters at the Democratic National Convention in Chicago. Trouble was everywhere, and the country seemed to be coming apart.
</p>
<p>
The day, February 2, calls to mind Groundhog Day-suggesting that the title might be intended symbolically-suggesting an ambiguous turning point, a day when we can hope the worst is over. But maybe not.
</p>
<p>
The poem begins with confirmation that it is, indeed, about trouble, a gathering of dark forces: the barren, snowswept imagery of night and winter, the swinging anapestic rhythm accelerated almost at once with quick iambs, the somber tone sustained through the final words: &#147;dead of winter.&#148;
</p>
<p>
The second line switches to a faster, more urgent trochaic rhythm, hard and driving, ratcheting up the pace and creating anticipation as the imagery becomes more strident, winter turning into war, militant &#147;r&#148; sounds harshly echoing and amplifying &#147;winter&#148; with a slant-rhyme: &#147;danger.&#148;
</p>
<p>
In two brief lines, the poet establishes a dark and troubled world with danger on the rise. Having been drawn into a sense of accelerating trouble, both in the imagery and in the rhythm, the reader expects the rising crescendo to continue, leading to fireworks of some sort in the final line.
</p>
<p>
But it doesn&#146;t happen. Instead, the poet shifts to an iambic rhythm, the most natural rhythm in English-the basic rhythm of everyday speech. Everything relaxes. Disaster is averted, normalcy returns, and images of winter and war fade into an image of an ordinary springtime routine. The ominous sounds of &#147;winter&#148; and &#147;danger&#148; are transformed subtly into the green freshness of &#147;clover.&#148; Spring has arrived. In some sense, the world is in order.
</p>
<p>
Given what went before, a world of winter and war, is this enough? Is the poet&#146;s response to the troubled world strong enough? Is his action-to be out planting clover-an adequate answer to the desolate world in which he lives?
</p>
<p>
There is more, of course. It isn&#146;t a fertile field that he plants, but a rocky hillside, perhaps ruined by the short-sighted, abusive practices that Berry so eloquently laments in other writings. And he plants clover, a nitrogen-fixer that restores fertility to exhausted land. He isn&#146;t merely doing spring planting, he is healing a place where life is hard because of neglect and shoddy work.
</p>
<p>
In a troubled world, he adopts a local focus: repairing his little bit of the earth and planting for the future, keeping the basic work of peace going. He tends to his own affairs, making his place more abundant, more beautiful, more productive. Is it enough?
</p>
<p>
I suppose we make our own answers, but for me the answer is &#147;yes.&#148; One response sane and intelligent response to trouble is to abandon trouble&#146;s strident tones and rhythms, to leave the urge for a quick resolution which, in being quick, is bound to be violent.
</p>
<p>
Sometimes, taking a longer view and changing the rhythm is precisely the best we can do.
</p>]]></content>
    </entry>

    <entry>
      <title>Snow Falling on Cedars schedule</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/snow_falling_on_cedars_schedule/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2848</id>
      <published>2009-11-02T16:33:23Z</published>
      <updated>2009-11-02T16:38:23Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Monday, Nov 2: to page 299
<br />
Tues, 326
<br />
Wed  337
<br />
Thurs  356
<br />
Fri  586
</p>
<p>
Mon 405
<br />
Tues  434
<br />
Wed  460
</p>]]></content>
    </entry>

    <entry>
      <title>Snow Falling on Cedars 96&#45;98</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/snow_falling_on_cedars_96_98/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2846</id>
      <published>2009-10-28T15:58:06Z</published>
      <updated>2009-10-28T15:59:06Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>In romantic relationships, it&#146;s often the case that the person who wants the least has the most power. This is true of the relationship between Ishmael and Hatsue, though this is not something Ishmael yet understands. He&#146;s lost in yearning, caught up in a sort of angst-ridden bliss, at once content to simply be with Hatsue, filling up his senses with the sights and sounds of her body, and yet not content at all, sensing that there is more to her than he realizes and yearning to know all of her. Using the images of clam digging and the mingling of ocean waters, Guterson expresses both Ishmael&#146;s quest to dig for something delectable below the surface and his mystical longing for something vast and unlimited. Unfortunately, Hatsue feels about things quite differently than Ishmael does, and this passage offers a series of contrast between them.
</p>]]></content>
    </entry>

    <entry>
      <title>&#8220;Out, out&#45;&#45;&#8221;</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/out_out1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2845</id>
      <published>2009-10-28T15:10:12Z</published>
      <updated>2009-10-28T15:11:12Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<div><h3 style="padding: 0px; margin: 3px;"><a href="http://www.authorstream.com/Presentation/Umphrey-262101-poetry-education-ppt-powerpoint/" target="_blank" style="font:normal 18px,arial;">Out, out--</a></h3><object width="425" height="354" id="player"><param name="movie" value="http://www.authorstream.com/player/player.swf?p=262101_633923194120757500" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player/player.swf?p=262101_633923194120757500" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="354"></embed></object><div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 11px; line-height: normal; font-size-adjust: none; font-stretch: normal;">See more <a href="http://www.authorstream.com/" target="_blank">presentations</a> by <a href="http://www.authorstream.com/User-Presentations/Umphrey/" target="_blank">Umphrey</a>&nbsp;|&nbsp;<a   href="http://upload.authorstream.com/multipleupload/" target="_blank">Upload your own PowerPoint presentations</a></div></div>]]></content>
    </entry>

    <entry>
      <title>The Man He Killed</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/the_man_he_killed/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2844</id>
      <published>2009-10-28T15:08:46Z</published>
      <updated>2009-10-28T15:09:46Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<div><h3 style="padding: 0px; margin: 3px;"><a href="http://www.authorstream.com/Presentation/Umphrey-262087-man-killed-education-poetry-ppt-powerpoint/" target="_blank" style="font:normal 18px,arial;">The Man He Killed</a></h3><object width="425" height="354" id="player"><param name="movie" value="http://www.authorstream.com/player/player.swf?p=262087_633923176120757500" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player/player.swf?p=262087_633923176120757500" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="354"></embed></object><div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 11px; line-height: normal; font-size-adjust: none; font-stretch: normal;">See more <a href="http://www.authorstream.com/" target="_blank">presentations</a> by <a href="http://www.authorstream.com/User-Presentations/Umphrey/" target="_blank">Umphrey</a>&nbsp;|&nbsp;<a   href="http://upload.authorstream.com/multipleupload/" target="_blank">Upload your own PowerPoint presentations</a></div></div>]]></content>
    </entry>

    <entry>
      <title>Revolutionary Minds: Franklin, Henry, Paine, Jefferson</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/revolutionary_minds_franklin_henry_paine_jefferson1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2838</id>
      <published>2009-10-26T01:48:27Z</published>
      <updated>2009-11-03T23:20:27Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<h3><b>Benjamin Franklin</b></h3><p>
   <a href="http://www.flatheadreservation.org/index.php/phs/printer/ben_franklin_and_the_laws_of_life/" title="The "Laws of Life"">The &#8220;Laws of Life&#8221;</a>
<br />
   Martin Seligman&#8217;s<a href="http://www.flatheadreservation.org/index.php/phs/printer/martin_seligman/" title=" list of virtues"> list of virtues</a>
<br />
   <a href="http://www.flatheadreservation.org/index.php/phs/printer/aristotles_virtues/" title="Aristotle's Virtue Ethics">Aristotle&#8217;s Virtue Ethics</a>
</p>
<h3><b>Patrick Henry</b></h3><p>
<div></p><h3 style="padding: 0px; margin: 3px;"><a href="http://www.authorstream.com/Presentation/Umphrey-259617-vocabulary-patrick-henry-education-ppt-powerpoint/" target="_blank" style="font:normal 18px,arial;">Vocabulary Patrick Henry</a></h3><p><object width="425" height="354" id="player"><param name="movie" value="http://www.authorstream.com/player/player.swf?p=259617_633919058773260420" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player/player.swf?p=259617_633919058773260420" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="354"></embed></object><div style="font:normal 11px,arial;">See more <a href="http://www.authorstream.com/" target="_blank">presentations</a> by <a href="http://www.authorstream.com/User-Presentations/Umphrey/" target="_blank">Umphrey</a>&nbsp;|&nbsp;<a   href="http://upload.authorstream.com/multipleupload/" target="_blank">Upload your own PowerPoint presentations</a></div></div>
<p>
<a href="http://history.org/Media/Libordth.mp3" title="><b>Audio Recording of Patrick Henry&#8217;s Speech</b></a>
</p>
<p>
<a href="http://history.org/media/audio.cfm" title="http://history.org/media/audio.cfm">http://history.org/media/audio.cfm</a>
</p>
<p>
The actor discusses the character of Patrick Henry: <a href="http://www.history.org/Almanack/people/bios/biohen.cfm" title="http://www.history.org/Almanack/people/bios/biohen.cfm">http://www.history.org/Almanack/people/bios/biohen.cfm</a>
</p>
<blockquote><p>Listen to an Independence Day Interview: Richard Schumann on Patrick Henry and Independence. Whenever there was trouble in Williamsburg, it&#8217;s a sure bet Patrick Henry was in the middle of it. 
</p>
<p>
AND
</p>
<p>
Listen to a Behind the Scenes Interview: Interpreting Patrick Henry. Richard Schumann discusses the intensity and passionate character of Patrick Henry. 
</p>
</blockquote>

<p>
<b>Thomas Jefferson: The Declaration of Independence</b>
<br />
<div></p><h3 style="padding: 0px; margin: 3px;"><a href="http://www.authorstream.com/Presentation/Umphrey-265336-declaration-independence-history-literature-thomas-jefferson-education-ppt-powerpoint/" target="_blank" style="font:normal 18px,arial;">The Declaration of Independence</a></h3><p><object width="425" height="354" id="player"><param name="movie" value="http://www.authorstream.com/player/player.swf?p=265336_633928514103692500" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player/player.swf?p=265336_633928514103692500" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="354"></embed></object><div style="font-family: arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 11px; line-height: normal; font-size-adjust: none; font-stretch: normal;">See more <a href="http://www.authorstream.com/" target="_blank">presentations</a> by <a href="http://www.authorstream.com/User-Presentations/Umphrey/" target="_blank">Umphrey</a>&nbsp;|&nbsp;<a   href="http://upload.authorstream.com/multipleupload/" target="_blank">Upload your own PowerPoint presentations</a></div></div>
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Samples from &#8220;Virtues&#8221; Essays</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/samples_from_virtues_essays/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2839</id>
      <published>2009-10-25T01:19:36Z</published>
      <updated>2009-10-25T03:33:36Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Samples of student writing"
        scheme="http://www.flatheadreservation.org/index.php/site/category/samples_of_student_writing/"
        label="Samples of student writing" />
      <content type="html"><![CDATA[<p><i>This is a clumsy sentence</i>: Fellow players have been telling me for years that I suck at football and you want to know what I think about those people is that they are scared, jealous and feel threatened by me and you what I&#8217;m not playing to take others positions I&#8217;m playing because I love this game and know that I don&#8217;t suck.
</p>
<p>
<i>This would be better</i>: Fellow players have been telling me for years that I suck at football. Do you know what I think about that? I think those people are scared or jealous or feel threatened by me. I&#8217;m not playing for their benefit. I&#8217;m playing because I love this game. I don&#8217;t believe that I do suck.
</p>
<p>
----------------------------------------------------------------
</p>
<p>
If we all had a little more patience with things and people then maybe we wouldn&#8217;t get so upset over things so easily. I remember sitting in class when I was younger and the person sitting a few desks down from me kept interrupting the teacher again and again. I wanted very badly to just yell at him and tell him to stop, and wondered why the teacher would be so patient with them. The person kept interrupting the teacher till class got over and it was time to leave. When I left class I remember being very annoyed with how that person was acting, so after class I asked someone why the teacher was being so patient with the person instead of getting upset with them and sending them to the office. The person I asked told me that the person who had been interrupting the teacher had a slower learning ability then the rest of us. After hearing this I was upset with myself for feeling so angry with that person.
</p>
<p>
----------------------------------------------------------------
</p>
<p>
It is simple, if a person doesn&#8217;t have determination they won&#8217;t get far in life.
</p>
<p>
----------------------------------------------------------------
</p>
<p>
It is always smart to laugh at yourself more then others, because
</p>
<p>
----------------------------------------------------------------
</p>
<p>
Eating right, exercise, sleep and stress relief are some of the things that will help to keep you healthy. You can work out by going on runs or walks, or even play an active game.
</p>
<p>
----------------------------------------------------------------
</p>
<p>
If someone does not have a good sense of humor than that person is either a really boring person
</p>
<p>
----------------------------------------------------------------
</p>
<p>
For instance this summer I was determined to get a job and work the whole summer, and I did. I&#8217;m not saying that it was hard, but I am saying that there were many times this summer that i just wanted to take a day off or just not show up. But I was determined to do my best and it has payed off, because when it came to the time that they started to lay people off where I work my name wasn&#8217;t on the list.
</p>
<p>
----------------------------------------------------------------
</p>
<p>
Also determination has helped me alot with school work.
</p>
<p>
----------------------------------------------------------------
</p>
<p>
I thought that this was bologna at first, but after watching the video I thought hey lets give it a shot.
</p>
<p>
----------------------------------------------------------------
</p>
<p>
someone who takes things to literally. 
</p>
<p>
----------------------------------------------------------------
</p>
<p>
Next thing I knew me and my friend were in a serious argument.
</p>
<p>
----------------------------------------------------------------
</p>
<p>
Tension wouldn&#8217;t of built up between us and that argument would of never happened. 
</p>
<p>
----------------------------------------------------------------
</p>
<p>
I am a very self sufficent person in everyday tasks. during school hours I make sure I go above and beyond to acheive the best grade I can recieve, while I also do my own laundry, dishes and cook.
</p>]]></content>
    </entry>

    <entry>
      <title>Aristotle&#8217;s Virtues</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/aristotles_virtues/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2837</id>
      <published>2009-10-23T16:53:50Z</published>
      <updated>2009-10-25T03:57:50Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><table width="90%" border="0" cellpadding="0" summary="adapted from J.A.K. Tomson"> <caption class="TableHeading"> <strong>Artistotle&#8217;s Nichomachean Ethics </strong> </caption> <tr> <td><strong>Sphere of Action</strong></td> <td><strong>Excess</strong></td> <td><strong>Mean</strong></td> <td><strong>Deficiency</strong></td> </tr> <tr> <td bgcolor="#C0C0C0"><strong>Fear and Confidence </strong></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Rashness</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Courage</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Cowardice</font></td> </tr> <tr> <td><strong>Pleasure and Pain </strong></td> <td> <font face="Verdana" size="2" color="#660033">Licentiousness/Self-indulgence</font></td> <td> <font face="Verdana" size="2" color="#660033">Temperance </font> </td> <td> <font face="Verdana" size="2" color="#660033">Insensibility</font></td> </tr> <tr> <td bgcolor="#C0C0C0"><strong>Getting and Spending (minor) </strong></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Prodigality</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Liberality</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Illiberality/Meanness</font></td> </tr> <tr> <td><strong>Getting and Spending<br /> (major) </strong></td> <td> <font face="Verdana" size="2" color="#660033">Vulgarity/Tastelessness</font></td> <td> <font face="Verdana" size="2" color="#660033">Magnificence</font></td> <td> <font face="Verdana" size="2" color="#660033">Pettiness/Niggardliness</font></td> </tr> <tr> <td bgcolor="#C0C0C0"><strong>Honour and Dishonour<br /> (major)</strong></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Vanity</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Magnanimity</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Pusillanimity</font></td> </tr> <tr> <td><strong>Honour and Dishonour<br /> (minor)</strong></td> <td> <font face="Verdana" size="2" color="#660033">Ambition/empty vanity </font> </td> <td><font face="Verdana" size="2" color="#660033">Proper ambition/pride</font></td> <td> <font face="Verdana" size="2" color="#660033">Unambitiousness/undue humility</font></td> </tr> <tr> <td bgcolor="#C0C0C0"><strong>Anger</strong></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033"> Grouchiness</font></td> <td bgcolor="#C0C0C0"> <font face="Verdana" size="2" color="#660033">Patience</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033"> Lack of spirit</font></td> </tr> <tr> <td><strong>Self-expression</strong></td> <td> <font face="Verdana" size="2" color="#660033">Boastfulness</font></td> <td> <font face="Verdana" size="2" color="#660033">Truthfulness</font></td> <td> <font face="Verdana" size="2" color="#660033">Understatement/mock modesty</font></td> </tr> <tr> <td bgcolor="#C0C0C0"><strong>Conversation</strong></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Buffoonery </font> </td> <td bgcolor="#C0C0C0"> <font face="Verdana" size="2" color="#660033">Wittiness</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Boorishness</font></td> </tr> <tr> <td><strong>Social Conduct</strong></td> <td> <font face="Verdana" size="2" color="#660033">Obsequiousness</font></td> <td><p> <font face="Verdana" size="2" color="#660033">Friendliness</font></p></td> <td> <font face="Verdana" size="2" color="#660033">Cantankerousness</font></td> </tr> <tr> <td bgcolor="#C0C0C0"><strong>Indignation</strong></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Envry</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Righteous Indignation</font></td> <td bgcolor="#C0C0C0"><font face="Verdana" size="2" color="#660033">Maliciousness, Spitefulness</font></td> </tr> <tr> <td><strong>Shame</strong></td> <td> <font face="Verdana" size="2" color="#660033">Shyness</font></td> <td> <font face="Verdana" size="2" color="#660033">Modesty</font></td> <td> <font face="Verdana" size="2" color="#660033">Indignation</font></td> </tr> </table> <p>Taken from p. 104 of translation by J.A.K. Tomson </p>]]></content>
    </entry>

    <entry>
      <title>Editing Sentences</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/editing_sentences/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2819</id>
      <published>2009-10-21T19:48:36Z</published>
      <updated>2009-10-21T19:52:35Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>The OWL at Purdue has good overviews of many basic writing topics
</p>
<p>
<a href="http://owl.english.purdue.edu/owl/resource/597/01/" title="Dangling modifiers">Dangling modifiers</a>
<br />
<a href="http://owl.english.purdue.edu/owl/resource/623/01/" title="Parallel structure">Parallel structure</a>
<br />
<a href="http://owl.english.purdue.edu/owl/resource/539/1" title="Active and passive voice">Active and passive voice</a>
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Snow Falling on Cedars: symbolism question</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/snow_falling_on_cedars_symbolism_question/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2817</id>
      <published>2009-10-21T18:39:09Z</published>
      <updated>2009-10-25T01:28:09Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Samples of student writing"
        scheme="http://www.flatheadreservation.org/index.php/site/category/samples_of_student_writing/"
        label="Samples of student writing" />
      <content type="html"><![CDATA[<p>When the snow is falling hard, like in the first three chapters of this book, it symbolizes harshness, cold, and tension. &#8220;The wind drove steadily inland, hurling them against the fragrant trees, and the snow began to settle on the highest branches with a gentle implacibility.&#8221; This quote shows the snow &#8220;hurling against the fragrant trees,&#8221; which makes the snow seem harsh, like the feelings about the trial, or the tension between the defendant&#8217;s wife and the reporter. Although the snow is harsh, it also may be a symbol of simplicity, like in the quote; &#8220;He hoped it would snow recklessly and bring to the island the impossible winter purity, so rare and precious, he remembered fondly from his youth.&#8221;
</p>
<p>
While he is sitting in court, Kabuo, the defendent, sees the snow falling outside and realizes he missed winter.&nbsp; He remembers spending 77 days in his windowless cell, and this is the first time he has seen the outside.&nbsp; The snow &#8220;struck him (Kabuo) as infinately beautiful.&#8221;  I don&#8217;t believe that snow is used as a symbol in the next two chapters.&nbsp; It is used mostly to set a setting in the second chapter and the weather is not mentioned at all in the third chapter.
</p>
<p>
In Snow Falling On Cedars the snow begins falling when the first murder trial in decades begins. The change of seasons and falling snow represents the innocence of Kabuo Miyamoto. He was locked up for all of autumn, and his first view of outside was a &#8220;snow blurred&#8221; image of the cedar hills.
</p>
<p>
The snow in the novel Snow Falling on Cedars is a symbol for justice.&nbsp; I believe that the snow is a symbol for justice because whenever the author brings up the snow, the characters are always in the courtroom by saying &#8220;In the meantime he sat facing the wind-driven snowfall, which had begun to mute the streets outside the courthouse windows.&#8221; 
</p>
<p>
As the snow falls over San Piedro Island, it brings a beautiful purity to the island.&nbsp; It struck people as &#8220;infinitely beautiful&#8221; and brought an &#8220;impossible winter purity - so rare and precious&#8221; to the island.&nbsp; As a man is brought to trial for murder, the snow falls, washing Puget Sound with its white beauty.
</p>]]></content>
    </entry>

    <entry>
      <title>Proofreading Checklist for Process Essays</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/proofreading_checklist_for_process_essays/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2810</id>
      <published>2009-10-19T20:11:37Z</published>
      <updated>2009-10-19T20:15:38Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><b>Proofreading Checklist</b>
</p>
<p>
<b>Ideas and organization</b>
</p>
<p>
	&#9744; Somewhere in the first paragraph, I state my thesis in a simple, direct sentence. (Unity)
<br />
	
<br />
	&#9744; My thesis expresses an opinion rather than summarizes the story or states something that is simply factually true. (Unity)
<br />
	
<br />
	&#9744; The body of my essay consists of three or four reasons that &#147;prove&#148; my these or examples that support it. Quotations are introduced correctly and then discussed, to make it clear what the reader is supposed to notice. (Development)
</p>
<p>
	&#9744; Transitions are used between paragraphs. (Coherence)
<br />
	
<br />
	&#9744; Every paragraph has a topic sentence which states the main idea of that paragraph. Everything in the paragraph relates to that topic sentence. (Unity and Coherence)
<br />
	
<br />
	&#9744; The points are organized in a way that a reader can easily follow the argument. (Coherence)
</p>
<p>
<b>Style	</b>
</p>
<p>
	&#9744; Every sentence is clear and graceful.
<br />
	
<br />
	&#9744; Most sentences have active verbs rather than &#147;being&#148; verbs, such as &#147;is,&#148; &#147;was,&#148; &#147;were,&#148; &#147;are,&#148; etc.
<br />
	
<br />
	&#9744; My nouns are specific rather than vague or abstract. (&#147;tree&#148; is vague; &#147;willow&#148; is specific&#1427;trouble&#148; is abstract; the death of her daughter is specific)
</p>
<p>
<b>Conventions and Usage	</b>
</p>
<p>
	&#9744; Every word is spelled correctly
<br />
	
<br />
	&#9744; Every sentence is complete (no fragments).
<br />
	
<br />
	&#9744; I have no fused sentence or comma splices. I&#146;ve changed run-on sentences with too many jumbled together ideas into simpler sentences.
<br />
	
<br />
	&#9744; Possessive nouns have apostrophes. Conjunctions have apostrophes.
<br />
	
<br />
	&#9744; Proper nouns are capitalized, and every sentence begins with a capital.
</p>]]></content>
    </entry>

    <entry>
      <title>Setting up a blog, logging on to Diigo</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/setting_up_a_blog_logging_on_to_diigo/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2809</id>
      <published>2009-10-19T07:51:32Z</published>
      <updated>2009-10-21T14:57:32Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>I&#8217;ve decided that advanced class members should have their own blogs. 
</p>
<p>
1. Whatever writing you create over the next 2 years will always be available to you. It&#8217;s on the Internet, so wherever you go you will be able to access it. 
<br />
2. It&#8217;s good practice. Much of the world uses blogging technology for all sorts of professional reasons.
<br />
3. By setting up a blog outside our password-protected sites, we can use Diigo to comment on writing. This is similar to the Revizr site I showed you, except with Diigo I can comment directly on your blog post. Only someone logged on to Diigo can see my comments. You can also comment on each other&#8217;s posts. We can also do group work on other web pages. 
</p>
<p>
So.
</p>
<p>
1. Get a <a href="http://wordpress.com/" title="WordPress blog">WordPress blog</a> (there are others, such as Blogger, but Wordpress is very large and if you get sophisticated you can install a more robust version on your own server and have almost unlimited control over the appearance and functionality. Might as well use the real tools.)
</p>
<p>
2. Use discretion in identifying yourself. I need to be able to tell who you are--a first name--but you should consider keeping your identity a little vague. Everything you post on this site will be linked to you via Google forever. Later (like when you&#8217;re 30) if you want to change your profile information to identify yourself, you can. 
</p>
<p>
3. Post the url of your blog in the Discussion Forum entitled WordPress Blogs. Just copy the url and paste it into the comment form on the discussion. That&#8217;s it. 
</p>
<p>
4. I will subscribe to all the blogs via an rss reader. This is free and easy, and I&#8217;ll show you how to do it, if you want.
</p>
<p>
5. I registered you on <a href="http://www.diigo.com/index" title="Diigo">Diigo</a>, so you can see my comments on your blog posts (and so you can see one another&#8217;s). You&#8217;ll need to get your user names and passwords from me. 
</p>
<p>
5. Consider subscribing to a free password protected management website such as <a href="https://signup.37signals.com/backpack/free/signup/new?source=www.flatheadreservation.org&amp;__utma=1.1503861984.1256136803.1256136803.1256136803.1&amp;__utmb=1.6.10.1256136803&amp;__utmc=1&amp;__utmx=-&amp;__utmz=1.1256136803.1.1.utmcsr=flatheadreservation.org|utmccn=%28referral%29|utmcmd=referral|utmcct=/index.php/phs/index/&amp;__utmv=-&amp;__utmk=266490638" title="BackPack">BackPack</a>. It lets you keep online all sorts of information, such as your various websites and usernames etc. <b>(I edited this link--it now takes you directly to the sign-up page for the free version).</b>
</p>
<p>
6. Also, consider changing your homepage on your school netbook to <a href="http://www.homepagestartup.com/" title="Homepage Startup">Homepage Startup</a>, so all the websites we use are readily available.
</p>]]></content>
    </entry>

    <entry>
      <title>Snow Falling on Cedars</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/snow_falling_on_cedars/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2733</id>
      <published>2009-10-19T07:04:50Z</published>
      <updated>2009-11-10T07:57:50Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><img src="http://www.flatheadreservation.org/images/phs/HatsueinTree_thumb.jpg" width="500" height="335" />
<br />
<a href="http://www.randomhouse.com/vintage/read/snow/" title="Reading Group Guide">Reading Group Guide</a> from the publisher (Vintage)
<br />
<a href="http://www.sparknotes.com/lit/cedars/context.html" title="Spark Notes">Spark Notes</a>
<br />
<a href="http://www.bookrags.com/notes/sno/" title="Book Notes">Book Notes</a>
<br />
<a href="http://english.eliz.tased.edu.au/literature/sfc/default.htm" title="Sample student essays">Sample student essays</a>
<br />
<a href="http://www.hsc.csu.edu.au/english/advanced/representation/elect1/3721/snowfalling.htm" title="Teaching Unit">Teaching Unit</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Quotes_from_Snow_Falling_on_Cedars.pdf">Quotes from <i>Snow Falling on Cedars</i> (2 page PDF)</a>
<br />
<a href="http://lmccaule.intrasun.tcnj.edu/icarus.jpg" title="Musee de Beaux Arts">Musee de Beaux Arts</a>
</p>
<p>
<b>Discussion worksheets</b>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Snow_Cedars-video-Ismael_at_war.pdf">Ishmael at war</a> (read pages 244-46)
<br />
<a href="http://www.flatheadreservation.org/images/phs/Snow_Cedars-video-snow.pdf">Analyzing Snow</a>
</p>
<p>
<b>Companion Poems: Isolation, Loneliness</b>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Snow_Cedars-Companion_Poems-Isolation-Loneliness.pdf">PDF set of all 5 poems</a>
</p>
<p>
&#8220;Out, out&#150;&#8221; Robert Frost
<br />
&#8220;The Man He Killed&#8221; Thomas Hardy
<br />
&#8220;Musee des Beaux Arts&#8221; W.H. Auden
<br />
&#8220;Pathedy of Manners&#8221; Ellen Kay
<br />
&#8220;No Man is an Island&#8221; John Donne
</p>
<p>
<b>Companion Poems: Snow, Free Will, Chance</b>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Snow_Cedars-Companion_Poems-Snow-Free_Will-Chance.pdf">PDF set of all 4 poems</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/phs/printer/the_man_he_killed/" title="The Man He Killed slideshow">The Man He Killed slideshow</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/printer/out_out1/" title=""Out, out"-- slideshow">&#8220;Out, out"-- slideshow</a>
</p>
<p>
&#8220;Desert Places&#8221; Robert Frost
<br />
&#8220;Design&#8221; Robert Frost
<br />
&#8220;The Snow Man&#8221; Wallace Stevens
<br />
&#8220;Dover Beach&#8221; Matthew Arnold
</p>
<p>
The hero is not a warrior but a scholar. He defeats evil by bringing home the truth, which he reconstructs through research in an archives.
</p>
<p>
Guterson uses a variety of literary techniques: analogy, characterization, flashbacks, diction. . .
<br />
<a href="http://downloads.bbc.co.uk/podcasts/worldservice/wbc/rss.xml" title="Podcast">Podcast</a> of Guterson discussing the book.
</p>
<p>
The setting is more than a simple background to the actions of characters. Place shapes the character&#8217;s in profound ways, and the weather plays a major role in the unfolding of the plot. Also, particular places take on symbolic power: the hollow cedar tree, the strawberry fields, the sea, the courtroom.
</p>
<p>
    * Ishmael Chambers, editor town paper
<br />
    * Kabuo Miyamoto, Japanese-American war internee, the accused, Fisherman
<br />
    * Hatsue Miyamoto, Kabuo&#8217;s wife
<br />
    * Carl Heine Junior, fisherman and murder victim
<br />
    * Art Moran, town sheriff
<br />
    * Alvin Hooks, prosecutor
<br />
    * Nels Gudmundsson, defense lawyer
<br />
    * Horace Whaley, the town coroner
<br />
    * Carl Heine Senior, Carl&#8217;s father
<br />
    * Etta Heine, Carl&#8217;s mother and wife of Carl Heine Senior
<br />
    * Ole Jurgensen, elderly strawberry farmer
<br />
    * Zenhichi Miyamoto, Kabuo&#8217;s father and Strawberry farmer
</p>
<p>
<b>Essay Questions</b>
</p>
<p>
1. Kabuo&#8217;s trial provides a framework for the plot of the novel and becomes an extended metaphor for issues of justice and injustice. Which are the most important judicial issues raised in the text? In Snow Falling on Cedars, is justice served both legally and morally?
<br />
Quantcast
</p>
<p>
2. Discuss the symbolism of snow, particularly during the trial, as well as the role of other types of weather experienced throughout Snow Falling on Cedars. How does Guterson use this weather motif to characterize various but interrelated themes found in the text?
</p>
<p>
3. <i>Snow Falling on Cedars</i> is often characterized as &#8220;a novel of place.&#8221; What are the significant places in the text? What occurs in each? Compare and contrast the mood and tension found in the various settings and the role each provides in both character and plot development.
</p>
<p>
4. How does the novel&#8217;s title characterize and symbolize the major themes of Guterson&#8217;s text?
</p>
<p>
5. Guterson told <i>People </i>magazine that, as a writer, &#8220;I want to explore philosophical concerns.&#8221; What are the major philosophical concerns in Snow Falling on Cedars? Guterson differentiates between &#8220;asking questions&#8221; and &#8220;providing answers.&#8221; What questions does he raise in the novel, and why doesn&#8217;t he answer the questions he asks?
</p>
<p>
6. Racism is a central theme of the book. Which characters are most guilty of racist actions? Racist thoughts? Is there a difference? Are the Nisei, American children with Japanese parents, guilty of any form of racism? Are their parents?
</p>
<p>
7. Is<i> Snow Falling on Cedars</i> primarily a novel about a lost life, lost land, or a lost love? How are the threads of these diverse story lines woven together to provide the truth at Kabuo&#8217;s trial?
</p>
<p>
8. Compare and contrast Guterson&#8217;s description of the Japanese internment with that presented in Farewell to Manzanar, by Jeanne Wakatsuki Houston and James Houston. Focus on the perceptions that the different generations of Japanese-Americans had of the American government. How has this experience subsequently shaped their lives?
</p>
<p>
9.<i> Snow Falling on Cedars</i> is considered literary fiction. What distinguishes literary fiction from popular fiction? Which elements of literary fiction are best illustrated in the novel? What other contemporary novels are classified as literary fiction?
</p>
<p>
10. Guterson has admitted the influence that Harper Lee&#8217;s <i>To Kill a Mockingbir</i>d, his favorite book, has had on his life and his writing. What are the strongest similarities between <i>Snow Falling on Cedars</i> and <i>To Kill a Mockingbird</i>, and how does Guterson use Lee&#8217;s text as a springboard for his own storytelling?
</p>
<p>
11. Although <i>Snow Falling on Cedars </i>is set in 1954, some of the thematic issues play an important role in society today. Do the issues raised in the novel transcend time and place and therefore affect the present, or is the novel depicting a part of history that has no direct bearing on contemporary society?
</p>
<p>
12. What is the significance of Ishmael&#8217;s name? As a character, how is he related to the narrator of <i>Moby Dick</i> and <i>Old Testament</i> the brother to Isaac, son of Abraham?
</p>
<p>
13. <i>Snow Falling on Cedars</i> appears to focus primarily on male characters &#151; Kabuo, Ishmael, Carl &#151; but two women play pivotal roles. Determine the significance Hatsue and Etta have in the events that transpire, particularly how the novel&#8217;s past pertains to its present time. How do Hatsue and Etta reflect the role that women have in their respective societies?
</p>
<p>
14. What is revealed and/or explained in the last line of <i>Snow Falling on Cedars</i>: &#8220;Accident ruled every corner of the universe except the chambers of the human heart,&#8221; and why is it significant that Ishmael had this understanding?
</p>
<p>
15. Guterson tells several stories in one in <i>Snow Falling on Cedars</i>: Hatsue and Ishmael&#8217;s romance; Kabuo&#8217;s trial; the effect of World War II on the men who served; the treatment of the Japanese on San Piedro, particularly during World War II; Hatsue&#8217;s coming to terms with her ethnicity; and the land struggle between the Heines and the Miyamotos. Choose one of these story lines and answer the following questions. If Guterson had told only this story, how would the novel have been different? How would it be the same? Could Guterson tell only one story without bringing in the others? Would the ending be different? Would you perceive any of the characters differently?
</p>
<p>
16. If you were a member of the jury, would you have voted Kabuo guilty or not guilty? Why or why not? Remember that as a jury member you have no knowledge of the lighthouse records or of any conversations outside the courtroom. Concentrating only on the testimony and the questioning, assign and defend your verdict.
</p>
<p>
17. Kabuo, a Japanese-American, fought Germans during the war; Carl, a German, fought the Japanese during the war. Why did Guterson choose to have these characters fight against the opposite racial group? If Kabuo and Carl had fought against men who shared their own ethnic backgrounds, how might their relationship have been different? Would Kabuo&#8217;s guilt be greater if he&#8217;d killed other Japanese?
</p>
<p>
18. Guterson makes no mention of the atomic bombing of Japan in <i>Snow Falling on Cedars</i>, yet in 1954 all the characters would be painfully aware of the way the war ended. Why does Guterson omit that aspect of World War II? How would the story be different if he had included the bombing? How would the characters, especially the island&#8217;s Japanese and people like Etta Heine, be different?
</p>
<p>
19. Compare Nels Gudmundsson with Ishmael Chambers. How are the men alike? How are they different? Although they both reluctantly help Kabuo, are their motivations ultimately the same? Would either man feel differently if Kabuo were a White man? What if Kabuo was White and Carl Japanese? Would Nels act differently if Kabuo hired him? Would Ishmael react differently if Kabuo wasn&#8217;t Hatsue&#8217;s husband? As Nels and Ishmael ultimately come to grips with the reality of their lives, how are their responses and choices similar or different?
</p>
<p>
<b>Companion Texts</b>
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/teaching/printer/island_selves/" title="Island Selves">Island Selves</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Mary Rowlandson Study Sheet</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/mary_rowlandson_study_sheet/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2803</id>
      <published>2009-10-09T14:43:59Z</published>
      <updated>2009-10-19T05:45:59Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><span class="img"><img src="http://www.flatheadreservation.org/images/phs/rowlandson1.jpg" width="330" height="500" /></span><p><b>The introduction lists four reasons</b> or motivations that the editors suggest for Mary Rowlandson&#8217;s decision to publish an account of her captivity. What are these reasons or motivations? According to the introduction, why was Rowlandson&#8217;s work accepted for publication even though it was unsual for women to be permitted pbulications in Puritan New England?</p>

<p>
<b>Identify the following characters</b>: Mary Rowlandson, King Philip, Wampanoeg tribesmen, Robert Pepper, Weetamo, John Gilberd of Springfield, Wattimore
</p>
<p>
<b>Vocabulary</b>
<br />
wearisome: (adj.) fatiguing; exhausting
<br />
tedious: (adj.) tiring; dreary
<br />
lamentable: (adj.) regrettable; distressing
<br />
entreated: (v.) asked sincerely; prayed to
<br />
plunder: (n.) goods seized, especially during wartime
<br />
melancholy: (adj.) sad; sorrowful
<br />
decrepit: (adj.) run down; worn out by age or use
<br />
savory: (adj.) appetizing; agreeable
<br />
affliction: (n.) pain; hardship
<br />
bewitching: (adj.) enticing; irresistible
</p>
<p>
<b>Study Questions</b>
</p>
<p>
1. How does the Narrative demonstrate Puritan theology and thinking at work?
</p>
<p>
2. In what ways does Rowlandson use her experience to reaffirm Puritan beliefs? How does she view herself and her fellow Christians? How does she see the Indians? What do her dehumanizing descriptions of the Indians accomplish?
</p>
<p>
3. Are there any instances where she seems to waver in her faith?
</p>
<p>
4. Why does Rowlandson distrust the &#8220;praying Indians&#8221;?
</p>
<p>
5. How does she use the Bible and varied scriptural allusions in her analysis of her captivity and restoration?
</p>
<p>
6. Does her world view change at all during her eleven weeks of captivity? Why or why not?
</p>
<p>
7. How does the Narrative combine/demonstrate/refute what Bradford in Of Plymouth Plantation and John Winthrop in A Modell of Christian Charity had to say about the Puritan&#8217;s mission in the New World?
</p>
<p>
8. The subject of food receives a great deal of attention in Rowlandson&#8217;s Narrative. How does Rowlandson&#8217;s attitude toward food change over the course of her captivity? Why is she so concerned with recording the specifics of what she ate, how she acquired it, and how she prepared it? What kinds of conflicts arise over food? What do her descriptions of eating tell us about Native American culture and about Rowlandson&#8217;s ability to acculturate?
</p>
<p>
9. How does Rowlandson use typology within her Narrative? What kinds of biblical images does she rely on to make sense of her captivity? How does her use of typology compare with that of other writers in this unit (Winthrop or Taylor, for example)?
</p>
<p>
10. In his preface to the first edition of Rowlandson&#8217;s Narrative, published in 1682, Increase Mather describes her story as &#8220;a dispensation of publick note and of Universal concernment&#8221; and urges all Puritans to &#8220;view&#8221; and &#8220;ponder&#8221; the lessons it holds for them. Does Rowlandson always seem to understand her captivity in Mather&#8217;s terms? How do the moments when Rowlandson narrates her experience as personal and individual complicate this imperative to function as a &#8220;public,&#8221; representative lesson for the entire community?
</p>
<p>
11. Many scholars view the captivity narrative as the first American genre and trace its influence in the development of other forms of American autobiographical and fictional writings. Why do you think the captivity narrative became so popular and influential? What might make it seem particularly &#8220;American&#8221;? Can you think of any nineteenth- or twentieth-century novels or films that draw on the conventions of the captivity narrative?
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/texts/printer/rowlandson_slideshow/" title="Short version of the text">Short version of the text</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Mary Rowlandson Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/mary_rowlandson_resources/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2801</id>
      <published>2009-10-08T19:02:11Z</published>
      <updated>2009-10-19T05:47:11Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><span class="img"><img src="http://www.flatheadreservation.org/images/phs/rowlandson1.jpg" width="330" height="500" /></span><p><b>The introduction lists four reasons</b> or motivations that the editors suggest for Mary Rowlandson&#8217;s decision to publish an account of her captivity. What are these reasons or motivations? According to the introduction, why was Rowlandson&#8217;s work accepted for publication even though it was unsual for women to be permitted pbulications in Puritan New England?</p>

<p>
<b>Identify the following characters</b>: Mary Rowlandson, King Philip, Wampanoeg tribesmen, Robert Pepper, Weetamo, John Gilberd of Springfield, Wattimore
</p>
<p>
<b>Vocabulary</b>
<br />
wearisome: (adj.) fatiguing; exhausting
<br />
tedious: (adj.) tiring; dreary
<br />
lamentable: (adj.) regrettable; distressing
<br />
entreated: (v.) asked sincerely; prayed to
<br />
plunder: (n.) goods seized, especially during wartime
<br />
melancholy: (adj.) sad; sorrowful
<br />
decrepit: (adj.) run down; worn out by age or use
<br />
savory: (adj.) appetizing; agreeable
<br />
affliction: (n.) pain; hardship
<br />
bewitching: (adj.) enticing; irresistible
</p>
<div><h3 style="padding: 0px; margin: 3px;"><a href="http://www.authorstream.com/Presentation/Umphrey-251190-vocabulary-mary-rowlandson-narrative-education-ppt-powerpoint/" target="_blank" style="font:normal 18px,arial";>Vocabulary Mary Rowlandson&#8217;s Narrative</a></h3><p><object width="425" height="354" id="player"><param name="movie" value="http://www.authorstream.com/player/player.swf?p=251190_633906108912360000" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player/player.swf?p=251190_633906108912360000" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="354"></embed></object><div style="font:normal 11px,arial;">Uploaded on <a href="http://www.authorstream.com/" target="_blank">authorSTREAM</a> by <a href="http://www.authorstream.com/User-Presentations/Umphrey/" target="_blank">Umphrey</a>&nbsp;|&nbsp;<a   href="http://upload.authorstream.com/multipleupload/" target="_blank">Upload your own presentation</a></div></div>
<p>
<b>Study Questions</b>
</p>
<p>
1. How does the Narrative demonstrate Puritan theology and thinking at work?
</p>
<p>
2. In what ways does Rowlandson use her experience to reaffirm Puritan beliefs? How does she view herself and her fellow Christians? How does she see the Indians? What do her dehumanizing descriptions of the Indians accomplish?
</p>
<p>
3. Are there any instances where she seems to waver in her faith?
</p>
<p>
4. Why does Rowlandson distrust the &#8220;praying Indians&#8221;?
</p>
<p>
5. How does she use the Bible and varied scriptural allusions in her analysis of her captivity and restoration?
</p>
<p>
6. Does her world view change at all during her eleven weeks of captivity? Why or why not?
</p>
<p>
7. How does the Narrative combine/demonstrate/refute what Bradford in Of Plymouth Plantation and John Winthrop in A Modell of Christian Charity had to say about the Puritan&#8217;s mission in the New World?
</p>
<p>
8. The subject of food receives a great deal of attention in Rowlandson&#8217;s Narrative. How does Rowlandson&#8217;s attitude toward food change over the course of her captivity? Why is she so concerned with recording the specifics of what she ate, how she acquired it, and how she prepared it? What kinds of conflicts arise over food? What do her descriptions of eating tell us about Native American culture and about Rowlandson&#8217;s ability to acculturate?
</p>
<p>
9. How does Rowlandson use typology within her Narrative? What kinds of biblical images does she rely on to make sense of her captivity? How does her use of typology compare with that of other writers in this unit (Winthrop or Taylor, for example)?
</p>
<p>
10. In his preface to the first edition of Rowlandson&#8217;s Narrative, published in 1682, Increase Mather describes her story as &#8220;a dispensation of publick note and of Universal concernment&#8221; and urges all Puritans to &#8220;view&#8221; and &#8220;ponder&#8221; the lessons it holds for them. Does Rowlandson always seem to understand her captivity in Mather&#8217;s terms? How do the moments when Rowlandson narrates her experience as personal and individual complicate this imperative to function as a &#8220;public,&#8221; representative lesson for the entire community?
</p>
<p>
11. Many scholars view the captivity narrative as the first American genre and trace its influence in the development of other forms of American autobiographical and fictional writings. Why do you think the captivity narrative became so popular and influential? What might make it seem particularly &#8220;American&#8221;? Can you think of any nineteenth- or twentieth-century novels or films that draw on the conventions of the captivity narrative?
</p>
<p>
<b>Be ready to discuss the following passages</b>
</p>
<p>
A. On the tenth of February 1676, Came the Indians with great numbers upon Lancaster. Their first coming was about sunrising; hearing the noise of some guns, we looked out; several houses were burning, and the smoke ascending to heaven. There were five persons taken in one house; the father and the mother and a suckling child they knocked on the head; the other two they took and carried away alive.
</p>
<p>
B. We had six stout dogs belonging to our garrison, but none of them would stir, though another time, if any Indian had come to the door, they were ready to fly upon him and tear him down. The Lord hereby would make us the more to acknowledge His hand, and to see that our help is always in Him.
</p>
<p>
C. I had often before this said that, if the Indians should come, I should choose rather to be killed by them than taken alive; but when it came to the trial, my mind changed; their glittering weapons so daunted by spirit that I chose rather to go along with those (as I may say) ravenous beasts, than that moment to end my days. . . .
</p>
<p>
D. The next day was the Sabbath. I then remembered how careless I had been of God&#146;s holy time, how many Sabbaths I had lost and mis-spent, and how evilly I had walked in God&#146;s sight, which lay so close unto my spirit that it was easy for me to see how righteous it was with God to cut off the thread of my life and cast me out of His present for ever. Yet the Lord still shewed mercy to me, and upheld me; and as he wounded me with one hand, so he healed me with the other.
</p>
<p>
E. This was the comfort I had from them; &#147;miserable comforters are ye all,&#148; as he said. Thus nine days I sat upon my knees, with my babe in my lap, till my flesh was raw again; my child being even ready to depart this sorrowful world, they bade me carry it out to another wigwam (I suppose because they would not be troubled with such spectacles), whither I went with a very heavy heart, and down I sat with the picture of death in my lap. About two hours in the night, my sweet babe like a lamb departed from this life, on February 18, 1676, it being about six years and five months old. It was nine days from the first wounding in this miserable condition, without any refreshing of one nature or other except a little cold water.
</p>
<p>
F. Oh the hideous insulting and triumphing that there was over some Englishmen&#8217;s scalps that they had take (as their manner is) and brought with them, I cannot but take notice of the wonderfull mercy of God to me in those afflictions, in sending me a Bible. . . .
</p>
<p>
G. And here I cannot but take notice of the strange providence of God in preserving the heathen: They were many hundreds, old and young, some sick and some lame; many had papooses at their backs; the greatest number at this time with us were squaws, and they traveled with all they had, bag and baggage; and yet they got over this river aforesaid; and on Monday the set their wigwams on fire, and away they went. On that very day came the English army after them to this river and saw the smoke of their wigwams, and yet this river put a stop to them. God did not give them courage or activity to go over after us; we were not ready for so from great a mercy as victory and deliverance; if we had been, God would have found out a way for the English to have passed this river, as well as for the Indians with their squaws, and children, and all their luggage.
</p>
<p>
H. Then I went to see King Philip. He bade me come in and sit down, and asked me whether I would smoke it (a usual compliment nowadays amongst saints and sinners) but this no way suited me. For though I had formerly used tobacco, yet I had left it ever since I was first taken. It seems to be a bait the devil lays to make men lose their precious time. I remember with shame how formerly, when I had taken two or three pipes, I was presently ready for another, such a bewitching thing it is. But I thank God, He has now given me power over it; surely there are many who may be better employed than to lie sucking a stinking tobacco-pipe.
</p>
<p>
I. I went to see an English youth in this place, one John Gilbert of Springfield. I found him lying without doors, upon the ground. I asked him how he did? He told me he was very sick of a flux, with eating so much blood. They had turned him out of the wigwam, and with him an Indian papoose, almost dead (whose parents had been killed), in a bitter cold day, without fire or clothes. The young man himself had nothing on but his shirt and waistcoat. This sight was enough to melt a heart of flint. There they lay quivering in the cold, the youth round like a dog, the papoose stretched out with his eyes and nose and mouth full of dirt, and yet alive, and groaning. I advised John to go and get to some fire. He told me he could not stand, but I persuaded him still, lest he should lie there and die.
</p>
<p>
J. They would pick up old bones, and cut them to pieces at the joints, and if they were full of worms and maggots, they would scald them over the fire to make the vermine come out, and then boil them, and drink up the liquor, and then beat the great ends of them in a mortar, and so eat them. They would eat horse&#8217;s guts, and ears, and all sorts of wild birds which they could catch; also bear, venison, beaver, tortoise, frogs, squirrels, dogs, skunks, rattlesnakes; yea, the very bark of trees; besides all sorts of creatures, and provision which they plundered from the English. I can but stand in admiration to see the wonderful power of God in providing for such a vast number of our enemies in the wilderness, where there was nothing to be seen, but from hand to mouth.
</p>
<p>
K. Before I knew what affliction meant, I was ready sometimes to wish for it. When I lived in prosperity, having the comforts of the world about me, my relations by me, my heart cheerful, and taking little care for anything, and yet seeing many, whom I preferred before myself, under many trials and afflictions, in sickness, weakness, poverty, losses, crosses, and cares of the world, I should be sometimes jealous least I should have my portion in this life . . . .
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/phs/printer/mary_rowlandson_study_sheet/" title="Short version for printing">Short version for printing</a> (it leaves out the quotations)
</p>
<p>
<a href="http://www.flatheadreservation.org/index.php/texts/printer/rowlandson_slideshow/" title="Slide show of introduction and conclusion">Slide show of introduction and conclusion</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Writing paragraphs</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/writing_paragraphs/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2798</id>
      <published>2009-10-08T14:45:21Z</published>
      <updated>2009-10-25T01:27:21Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Samples of student writing"
        scheme="http://www.flatheadreservation.org/index.php/site/category/samples_of_student_writing/"
        label="Samples of student writing" />
      <content type="html"><![CDATA[<h3>Unity: A good paragraph is unified around a single topic, which is stated clearly in the topic sentence.</h3>
<p>
<b>Okay: </b>The Puritans were a very religious people that believed that God overlooked and controlled every little thing in their lives. They thought that the things they did either pleased or angered God. If the Puritans were good they were rewarded, but if they were bad they thought that God would harshly punish them. &#8220;There was a proud and profane young man&#8230; he would always be condemning people with their sickness and cursing them&#8230; but it pleased God&#8230; to smite this young man.&#8221; William Bradford is showing his total belief that God controls everything in everybody&#8217;s lives. From the little things like getting a cold, to the big things like being killed.
</p>
<p>
<b>Weak: </b>The Puritans were not a particularly clean or strong people for all their Godliness. They rarely bathed, and their sanitation was always in question. But their faith in God was obviously enough to pull them through. Though over half their population died from cold, starvation, and sickness during their first winter, which Bradford describes as, &#8220;&#8230; they that know the winters of that country know them to be sharp and violent...&#8221; and, &#8220;&#8230; subject to cruel and fierce storms...&#8221;, they suffered through and eventually flourished, though eventually being swallowed up by the Massachusetts Bay colony. The Pilgrims may not have done much, but their example and ability left a mark on the face of America that will never be forgotten, and their Faith in God was representative of the Pinnacle of human piety. 
</p>
<h3>Coherence: A good paragraph coheres, with all the parts fitting together so that the reader moves through it without becoming lost or confused.</h3><p>
<b>Weak: </b>The Puritans had a mind set of casting opinions on groups of people. For, after all, they were leaving there own country because of their conception of the English government. Even before meeting the natives, the cast of pilgrims had made their own judgments of the Indians, Most thought the Native American race to be wild and uncivil, &#147;...Barbarous and most treacherous, being most furious in their rage and merciless where they overcome....&#148; As you can see, the pilgrims expected to arrive to a land filled with these unknown ravenous beings. It was made clear to all the pilgrims that Indians were not to be trusted because of their unruly ways.
</p>
<p>

</p>]]></content>
    </entry>

    <entry>
      <title>Writing paragraphs</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/writing_paragraphs1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2799</id>
      <published>2009-10-08T14:45:15Z</published>
      <updated>2009-10-08T16:57:15Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<h3>Unity: A good paragraph is unified around a single topic, which is stated clearly in the topic sentence.</h3>
<p>
<b>Okay: </b>The Puritans were a very religious people that believed that God overlooked and controlled every little thing in their lives. They thought that the things they did either pleased or angered God. If the Puritans were good they were rewarded, but if they were bad they thought that God would harshly punish them. &#8220;There was a proud and profane young man&#8230; he would always be condemning people with their sickness and cursing them&#8230; but it pleased God&#8230; to smite this young man.&#8221; William Bradford is showing his total belief that God controls everything in everybody&#8217;s lives. From the little things like getting a cold, to the big things like being killed.
</p>
<p>
<b>Weak: </b>The Puritans were not a particularly clean or strong people for all their Godliness. They rarely bathed, and their sanitation was always in question. But their faith in God was obviously enough to pull them through. Though over half their population died from cold, starvation, and sickness during their first winter, which Bradford describes as, &#8220;&#8230; they that know the winters of that country know them to be sharp and violent...&#8221; and, &#8220;&#8230; subject to cruel and fierce storms...&#8221;, they suffered through and eventually flourished, though eventually being swallowed up by the Massachusetts Bay colony. The Pilgrims may not have done much, but their example and ability left a mark on the face of America that will never be forgotten, and their Faith in God was representative of the Pinnacle of human piety. 
</p>
<p>
<b>Weak:</b> They travel across the perilous ocean, being stricken with disease and death, praying to make it to the shores of America, the promised land. When near the coast, they began to sail towards the Hudson River entering danger along an already dangerous trip, Bradford states, &#8220;but after they had sailed the course for about half the day, they fell amongst dangerous shoals and roaring breakers. . . .&#8221; continuing, &#8220;they resolved to bear up again for the Cape and thought themselves happy to get out of those dangers before night overtook them, as by God&#8217;s good grace they did.&#8221; When they finally landed on the shore, they believed their troubles to be over and the end of the apocalypse, &#8220;They fell upon their knees and blessed the God of Heaven who had bought them over the vast and furious ocean. . . .&#8221;
</p>
<h3>Coherence: A good paragraph coheres, with all the parts fitting together so that the reader moves through it without becoming lost or confused.</h3><p>
<b>Okay:</b> To the Puritans, God had his hand in everyday happenings. Bradford shows his belief that God punishes people who are in the wrong and spares the innocent. On board the Mayflower, a rude arrogant seaman harasses the sea sick passengers, threatening to throw them over board. But Bradford shows his faith that God is watching over the Pilgrims. &#147;He would curse and swear most bitterly. But it pleased God before they came half seas over, to smite this young man with a grievous disease, of which he died in a desperate manner, and so was himself the first that was thrown overboard.&#148; The people on the Mayflower and Bradford see this as a sign from God, that He will take matters into His hands. 
</p>
<p>
<b>Weak: </b>The Puritans had a mind set of casting opinions on groups of people. For, after all, they were leaving there own country because of their conception of the English government. Even before meeting the natives, the cast of pilgrims had made their own judgments of the Indians, Most thought the Native American race to be wild and uncivil, &#147;...Barbarous and most treacherous, being most furious in their rage and merciless where they overcome....&#148; As you can see, the pilgrims expected to arrive to a land filled with these unknown ravenous beings. It was made clear to all the pilgrims that Indians were not to be trusted because of their unruly ways.
</p>
<p>
<b>Weak:</b> William Bradford is a Puritan who comes to America with other Puritans, to flee religious prosecution from the king of England. In the movie, Desperate Crossings, the Puritans flee England because the king has soldiers hunting down the religious followers of anything but Anglicans. To the Puritans, they believed that this was the apocalypse mentioned in the New Testament of the Bible. Before they leave for America, they flee to Holland, where their is a greater deal of religious freedom for the time being in Europe. However, the king of England eventually finds out about them their and demands for them to be put to trial back in England. The Puritans decide it is time to leave Europe to go to what they believe is the promised land, America. On the ship passage over, Bradford believes that they are being tested by God when they continue sailing after a broken mast as he says, &#8220;they committed themselves to the will of God and resolved to proceed.&#8221;
</p>
<p>
</p><h3>Development: A good paragraph has enough supporting detail to make it clear what the topic sentence means and to persuade the reader that the topic sentence is correct.</h3>
<p>
<b>Okay: </b>Before the Puritans traveled to America, they believed that the Indians were nothing more than barbaric savages. Although they had never met or even seen the natives, they made inferences from what they had heard from other travelers. &#147;The place they had thoughts on was some of those vast and undeveloped countries of America, which are fruitful and fit for habitation, being devoid of all civil inhabitants, where there are only savage and brutish men which range up and down, little otherwise than the wild beasts of the same.&#148;(Page 10) Not only did the Puritans think that the Indians were uncivil, but they believed that they were dangerous and intimidating. It was made clear that they thought the natives were no better than the wild animals roaming the untracked land.
</p>
<p>
<b>Weak: </b>Puritans lived in a rather simple manner full of beliefs, although at times it still led them to be in many predicaments that could have broken them apart. &#8220;[They] were hunted and persecuted on every side&#8230; For some were taken and clapped up in prison, others had their houses beset and watched night and day....&#8221; (p. 5*) Even with these hardships in England, which forced them to move to Holland, they still were determined &#8220;to walk in all His ways&#8230; whatsoever it should cost them...&#8221; (p.5)
</p>
<h3>Fatal Errors: Not writing English sentences. Not spellchecking. Sentence Fragments. Careless capitlalization. Not proofreading.</h3>
<p>
And their thoughts of the New World &#147;Being devoid of all civil inhabitants&#340; Only led the Pilgrims aboard the Mayflower to expect nothing but the worst upon arrival to the New World, ultimately already creating a void between the two cultures.
</p>
<p>
Once the Puritans landed at Cape Cod they immediately encountered the Native Americans, &#8220;;;; the Indians came skulking about them, and would sometimes show themselves aloof off, but when any approached near them, they would run away&#8230; .&#8221; This troubled the settlers a lot. This gave them the assumption that the Native Indians were mindless savages, however; this opinion was soon changed.
</p>
<p>
As a Puritan, William Bradford believed something called covenant theolody. Covenant theology is the idea that God enters into a covenant or contract with mankind. These people believed God would fulfill his divine plan on earth through them.
</p>
<p>
Even before meeting the natives, the cast of pilgrims had made their own judgments of the Indians, Most thought the Native American race to be wild and uncivil, &#147;...Barbarous and most treacherous, being most furious in their rage and merciless where they overcome....&#148;
</p>]]></content>
    </entry>

    <entry>
      <title>Desperate Crossing video</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/desperate_crossing_video/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2796</id>
      <published>2009-10-06T19:30:11Z</published>
      <updated>2009-10-07T21:44:11Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><b>Objectives: Know these words:</b>
</p>
<p>
blasphemous
<br />
habeas corpus
<br />
inscrutable
<br />
magistrate
<br />
manifest
<br />
non-conformity
<br />
persecution
<br />
repression
<br />
seditious
<br />
theology
<br />
tolerant
<br />
<div></p><h3 style="padding: 0px; margin: 3px;"><a href="http://www.authorstream.com/Presentation/Umphrey-249993-vocabulary-desperate-crossing-entertainment-ppt-powerpoint/" target="_blank" style="font:normal 18px,arial";>Vocabulary from Desperate Crossing</a></h3><p><object width="425" height="354" id="player"><param name="movie" value="http://www.authorstream.com/player/player.swf?p=249993_633904448112360000" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player/player.swf?p=249993_633904448112360000" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="354"></embed></object><div style="font:normal 11px,arial;">Uploaded on <a href="http://www.authorstream.com/" target="_blank">authorSTREAM</a> by <a href="http://www.authorstream.com/User-Presentations/Umphrey/" target="_blank">Umphrey</a>&nbsp;|&nbsp;<a   href="http://upload.authorstream.com/multipleupload/" target="_blank">Upload your own presentation</a></div></div>
<p>
<b>Be able to answer these questions:</b>
</p>
<p>
1. What was the core philosophy of the Separatists? Why were they so frustrated with the Church of England?
<br />
2. Why was King James I so opposed to the Separatists&#146; philosophy and practices? What was his philosophy of obedience?
<br />
3. Why do you think Bradford and his followers moved to Holland? What explanation is given for the tolerance of many religious views in Holland?
<br />
4. Why were Bradford and his followers unable to make their community work in Holland? How did they convince investors that they could be prosperous in the New World?
<br />
5. What were three unexpected events that occurred in this documentary? How do you think the story of the Mayflower could have been different?
<br />
6. What was the Mayflower Compact and why was it important?
<br />
7. Before the arrival of the Mayflower, over 50 million Native Americans inhabited North America. What did the British think or know about these groups before
<br />
they arrived?
<br />
8. Describe the early encounters between the British and the Native Americans. How did they communicate with one another?
<br />
9. Do you think the Native Americans stood to benefit anything from cooperating with the British and vice versa? What obstacles prevented them from living peacefully?
<br />
10. At what point do you think the foundation of Plymouth was most imperiled? At what point do you think it was clear that Plymouth would survive?
<br />
11. How did this documentary change your view of the Mayflower and its journey?
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Desperate_Crossing_questions.pdf">Printable PDF of this page</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/DesperateCrossing_EducationStudyGuide.pdf"><i>Desperate Crossing</i> Study Guide</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Writing the College Essay</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/writing_the_college_essay/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2789</id>
      <published>2009-10-06T14:25:45Z</published>
      <updated>2009-10-06T14:30:45Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Composition"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Composition/"
        label="Composition" />
      <content type="html"><![CDATA[<div style="width:425px;text-align:left" id="__ss_2140885"><a style="font:14px Helvetica,Arial,Sans-serif;display:block;margin:12px 0 3px 0;text-decoration:underline;" href="http://www.slideshare.net/mumphrey/writing-college-essay" title="Writing College Essay">Writing College Essay</a><object style="margin:0px" width="425" height="355"><param name="movie" value="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=writingacollegeessay-091006084959-phpapp01&stripped_title=writing-college-essay" /><param name="allowFullScreen" value="true"/><param name="allowScriptAccess" value="always"/><embed src="http://static.slidesharecdn.com/swf/ssplayer2.swf?doc=writingacollegeessay-091006084959-phpapp01&stripped_title=writing-college-essay" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="355"></embed></object><div style="font-size:11px;font-family:tahoma,arial;height:26px;padding-top:2px;">View more <a style="text-decoration:underline;" href="http://www.slideshare.net/">presentations</a> from <a style="text-decoration:underline;" href="http://www.slideshare.net/mumphrey">mumphrey</a>.</div></div>]]></content>
    </entry>

    <entry>
      <title>Justice</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/justice/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2786</id>
      <published>2009-10-04T03:01:40Z</published>
      <updated>2009-10-04T03:02:40Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>The <a href="http://justiceharvard.org/index.php?option=com_content&amp;view=category&amp;layout=blog&amp;id=9&amp;Itemid=5" title="PBS video series">PBS video series</a> of Sandel&#8217;s lectures on justice.
</p>]]></content>
    </entry>

    <entry>
      <title>Template for a &#8220;Where I&#8217;m From&#8221; poem</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/template_for_a_where_im_from_poem1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2463</id>
      <published>2009-09-29T18:03:34Z</published>
      <updated>2009-09-29T18:03:34Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Handouts"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Handouts/"
        label="Handouts" />
      <content type="html"><![CDATA[<p><b>Where Are You From?</b>
</p>
<p>
&#8220;If you don&#8217;t know where you&#8217;re from, you&#8217;ll have a hard time saying where you&#8217;re going.&#8221; Wendell Berry, among others, has voiced this idea that we need to understand our roots to know our place in the world.
</p>
<p>
Give it a try. The prompts have a way of drawing out memories of the smells of attics and bottom-drawer keepsakes; the faces of long-departed kin, the sound of their voices you still hold some deep place in memory. You&#8217;ll be surprised that, when you&#8217;re done, you will have said things about the sources of your unique you-ness that you&#8217;d never considered before. What&#8217;s more, you will have created something of yourself to share--with your children, spouse, siblings--that will be very unique, very personal and a very special gift.
</p>
<p>
<b>Brainstorm a list</b>
</p>
<p>
Brainstorm a list of places that stick in your mind. 
<br />
Next, go beyond places. Describe colors, people, and objects
<br />
Then, try to remember sayings from parents/friends
<br />
Keep going: 
<br />
<blockquote><p>Items from around the house
<br />
Items from the yard
<br />
Items found in the neighborhood
<br />
Names of relatives
<br />
Names of foods, dishes that recall family gatherings</p></blockquote>
<p>
<b>Organize some of them into a form, starting with the WHERE I&#8217;M FROM Template:</b>
</p>
<p>
1. I am from _______ (specific ordinary item), from _______ (product name) and _______.
<br />
2. I am from the _______ (home description&#8230; adjective, adjective, sensory detail).
<br />
3. I am from the _______ (plant, flower, natural item), the _______ (plant, flower, natural detail)
<br />
4. I am from _______ (family tradition) and _______ (family trait), from _______ (name of family member) and _______ (another family name) and _______ (family name).
<br />
5. I am from the _______ (description of family tendency) and _______ (another one).
<br />
6. From _______ (something you were told as a child) and _______ (another).
<br />
7. I am from (representation of religion, or lack of it). Further description.
<br />
8. I&#8217;m from _______ (place of birth and family ancestry), _______ (two food items representing your family).
<br />
9. From the _______ (specific family story about a specific person and detail), the _______ (another detail, and the _______ (another detail about another family member).
<br />
10. I am from _______ (location of family pictures, mementos, archives and several more lines indicating their worth).
</p>
<p>
<a href="http://www.georgeellalyon.com/where.html" title=""Where I'm From" - the original poem">&#8220;Where I&#8217;m From&#8221; - the original poem</a>  
<br />
<a href="http://www.georgeellalyon.com/audio/where.mp3" title="George Ella Lyon">Audio</a> of George Alyon reading &#8220;Where I&#8217;m From&#8221;
</p>]]></content>
    </entry>

    <entry>
      <title>Facebook and The Chosen Assignment</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/facebook_and_the_chosen_assignment/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2775</id>
      <published>2009-09-27T07:35:55Z</published>
      <updated>2009-09-29T17:55:55Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Grammar and Usage Guides"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Grammar and Usage Guides/"
        label="Grammar and Usage Guides" />
      <content type="html"><![CDATA[<p><b>Below I&#8217;ve copied samples from your last writing assignment that illustrate some problems we&#8217;ll go over in class.</b>
</p>
<p>
First, here&#8217;s an example of a post that I gave an &#8220;A.&#8221; It has a clear topic sentence, it is unified, and it makes it&#8217;s point in a clear and direct way drawing both on the readings and on the writer&#8217;s personal experience:
</p>
<p>
I do not think Facebook contributes to ADHD. I think it gives people a chance to ignore the rules of society for once and just let ourselves go. I enjoy the freedom that networking sites offer because it allows us to write in our own dialect, of sorts, instead of a set of rules which have no reason to follow except for a grade in English class. I study hard for tests and I&#8217;ve been writing a novel for a number of years. I can say that writing correctly is easy to understand, but in this day and age, chat-speak and texting language is equally easy to make sense of. It&#8217;s kind of like how Reuven&#8217;s baseball team wears regular American clothing, and Danny Saunders wears the Hasidic uniform. Reuven&#8217;s team being the texting language, and Danny being grammatically correct English-- they are both respectable people, and they both make sense. I find it relatively easy to switch back and forth between English and American-chat-speak. I think that&#8217;s why I do so well in English, is because I make a bold line between the two. I don&#8217;t think it contributes to ADD or ADHD. It&#8217;s just like being multi-lingual. I catch myself mixing the Spanish and English language together more often than I mix chat-speak in with English. I think the reason Facebook users have lower GPAs is because they&#8217;re to the point where they just don&#8217;t care anymore. They have allowed themselves to be completely absorbed in American teenage society in which we use our American dialect. I enjoy our freedom to butcher the English language on networking sites.
</p>
<p>
<b>Unity</b>
</p>
<p>
Is Facebook and texting making kids dumber? In my opinion, there is no possible way that you can get dumber by using something that makes you think while you use it. Communicating by typing is a good way to use your typing skills and your spelling and grammer.<span style="background-color: #FFFF00"> I am a lazy person and I usually just call people, because it is just so much easier.</span> How can typing on a computer give you ADHD? Typing on facebook would just put you to sleep. If it was true that people could get ADHD, probably at least half the word would have it.
</p>
<p>
<b>Redundancy</b>
</p>
<p>
In my personal opinion I do not think that Facebook or Texting has anything to do with ADHD.
</p>
<p>
<b>Point of View</b>
</p>
<p>
I do not think Facebook contributes to ADHD. I think it gives people a chance to ignore the rules of society for once and just let ourselves go.
</p>
<p>
At the same time though she is kind of right becuase grammar and spelling is getting worse as texting becomes more and more popular but it really doesn&#8217;t really matter much to me because I don&#8217;t even use proper grammar becuase it sounds like you think that you are smarter than everybody else.
</p>
<p>
<b>Logic</b>
</p>
<p>
Also this article stated, &#8220;College students who use the 200-million member social network have significantly lower grade-point averages.&#8221; What about people who aren&#8217;t in college. If you read the article you&#8217;d think everyone who uses Facebook has ADHD.
</p>
<p>
I don&#8217;t think that Facebook is making ADHD in people worse. I personally do not use facebook and i have ADHD. 
</p>
<p>
I believe that Facebook is not causing bad grades or shorter attention spans in teens today. I think its just they were never taught how to correctly plan out how they should do things. I think that the article written about how kids are getting bad grades in school because of networking sites liked Facebook, Myspace, and other networking sites was one sided. Did they actually just talking to the parents of the teens?
</p>
<p>
There was a recent study by a doctoral candidate Aryn Karpinski of Ohio State University showing in her results of her study that people who use Facebook are more prone to having A.D.H.D.and not being as witty as people who don&#8217;t use these networks. I disagree with her on this because you can&#8217;t blame Facebook, Myspace, Bebo, texting, or any other socializing networks like that on having A.D.H.D. or not having a higher G.P.A. than others who don&#8217;t use them. There are people who have a 4.0 G.P.A. and they use Facebook and text daily.
</p>
<p>
<b>Subject/Verb Agreement: </b>
</p>
<p>
Does Facebook and texting make you smarter? 
</p>
<p>
becuase grammar and spelling is getting worse as texting becomes more and more popular 
</p>
<p>
There is a controversy going on about how internet social sights and texting is causing students of all ages to have lower grades than other students
</p>
<p>
Bad grammar and spelling mistakes has to do with discipline
</p>
<p>
There is medications for it but that changes who a person is
</p>
<p>
When there was no such thing as Facebook or texting people was doing other important things in their lifes
</p>
<p>
if your friend lives far from you, and facebook or texting are your the best way to make contact with them, you should use these stuff.
</p>
<p>
<b>Pronoun Errors</b>
</p>
<p>
I think that facebook and texting is contributing to an ADHD personality in people. It makes people used to a more fast paced life,
</p>
<p>
If anything, facebook would make you more active. Why would come to the conclusion that it&#8217;s only Facebook and texting. The computer and internet has been around for a while. What difference is it from back then to now.
</p>
<p>
Like if you forgot the homework assignment, you can just text your friend or teacher an get it right than an there. But it&#8217;s brief, and short messages.
</p>
<p>
depending on the amount of time a person is on Facebook or spends texting, the quality of their grade will be affected for the worse.
</p>
<p>
<b>Run-on Sentences</b>
</p>
<p>
Texting and Facebook haven&#8217;t changed how i study even in the slightest so therefore on the topic of Hamilton&#8217;s essay I don&#8217;t really agree with the topic of it causing ADHD but Facebook and texting can take away from what people do, such as if they are on the computer or texting someone they may not take the time to do homework or study but it doesn&#8217;t cause ADHD.
</p>
<p>
I think that who has ADHD was born with it. but it may lose you line of thinking becouse you might be doing something important and you get a text from someine you like then you drop that important thing and text then forget about the importance of the first thing.
</p>
<p>
<b>Fused Sentences</b>
</p>
<p>
I think that this is just a trend soon the problem of teens bad grades and shorter attention spans will be blamed on the next big thing.
</p>
<p>
Some people can get good grades while spending more time on Facebook then studying, others just don&#8217;t have that gift.
</p>
<p>
<b>Comma Splice</b>
</p>
<p>
Some of my friends are attached to the online world, they&#8217;ll be on for hours. 
</p>
<p>
I am apart of millions an millions of text message users, It does help in so pretty enormous ways though.
</p>
<p>
I wouldn&#8217;t blame texting or these internet browsers, most of these kids are young adults and should be making choices for themselves.
</p>]]></content>
    </entry>

    <entry>
      <title>Alice in Wonderland Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/alice_in_wonderland_resources/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2773</id>
      <published>2009-09-25T18:35:14Z</published>
      <updated>2009-09-28T02:43:14Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Readings"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Readings/"
        label="Readings" />
      <content type="html"><![CDATA[<p>Reading Schedule</b>
</p>
<p>
You need to be familiar with the readings on the days listed
<br />
(these are due dates, not homework assignments)
</p>
<p>
Monday,  Sep 28	Chapter 1-2
<br />
Tuesday  Sep 29	Chapter 3-4
<br />
Wed        Sep 30       Chapter 5-6
<br />
Thurs       Oct 1         Chapter 7-8
<br />
Fri           Oct 2         Chapter 9-10
<br />
Mon         Oct 5	        Chapter 11-12
</p>
<p>
<a href="http://polson.ning.com/forum/topics/alices-treasure-hunt" title="Alice's Treasure Hunt">Alice&#8217;s Treasure Hunt</a>: These are the resources we found and linked to on OurSpace
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Jabberwocky.pdf">&#8220;Jabberwocky&#8221;</a> is a good example of the literary technique of &#8220;onomatopoeia.&#8221; It also illustrates the power of our romantic expectations for stories, as well as the power of rhythm and sound to create meaning even where meaning is missing.
</p>]]></content>
    </entry>

    <entry>
      <title>Puritan resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/puritan_resources/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2765</id>
      <published>2009-09-25T14:26:26Z</published>
      <updated>2009-12-07T04:52:25Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Before 1800"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Before 1800/"
        label="Before 1800" />
      <content type="html"><![CDATA[<p>Write a 1000-word paper, with citations from at least 3 texts (including the video Desperate Crossing), in which you explore some aspect of the Puritan mind. You can focus on their response to adversity, their attitude toward education, their work ethic, their communal (rather than individual) orientation. 
</p>
<p>
Along the way, include explanations of at least three of the terms from the <a href="http://www.flatheadreservation.org/index.php/phs/printer/puritan_concepts/" title="Puritan Concepts ">Puritan Concepts </a>handout.
</p>
<p>
<b>Texts</b>
<br />
<a href="http://www.flatheadreservation.org/index.php/texts/printer/american_puritans/" title="Introduction to Puritanism">Introduction to Puritanism</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/The_American_Puritans_complete.pdf" title="Complete set of reading by various Puritans ">Set of reading by various Puritans </a>(49-page PDF)
<br />
<a href="http://www.flatheadreservation.org/images/phs/Bradford_Plymouth_Plantation.pdf">Excerpt from William Bradford&#8217;s &#8220;History of Plymouth Plantation&#8221;</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Winthrop_Model_Christian_Charity.pdf">Winthrop &#8220;A Model of Christian Charity&#8221;</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/AnneBradstreetPoems.pdf">Anne Bradstreet Poems</a>
<br />
Mary Rowlandson&#8217;s <a href="http://www.gutenberg.org/dirs/etext97/crmmr10.txt" title=""Narrative of the Captivity of Mary Rowlandson"">&#8220;Narrative of the Captivity of Mary Rowlandson&#8221;</a>
<br />
&#8220;A Model of Christian Charity&#8221; <a href="http://www.flatheadreservation.org/index.php/texts/a_model_of_christian_charity1/" title="slides">slides</a>
<br />
&#8220;Narrative of the Captivity&#8221; <a href="http://www.flatheadreservation.org/index.php/texts/narrative_of_the_captivity_and_restoration_of_mrs_mary_rowlandson/" title="slides">slides</a>
</p>
<p>
<b>Background Essays</b>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/printer/affliction/" title=""Affliction"">&#8220;Affliction&#8221;</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/printer/rowlandson_invention_secular/" title=""Mary Rowlandson and the Invention of the Secular"">&#8220;Mary Rowlandson and the Invention of the Secular&#8221;</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/printer/capitve_selves_captivating_others/" title=""Captive Selves, Captivating Others"">&#8220;Captive Selves, Captivating Others&#8221;</a> 
</p>
<p>
<b>Study Guides</b>
<br />
<a href="http://www.flatheadreservation.org/images/phs/DesperateCrossing_EducationStudyGuide.pdf">Desperate Crossing Study Guide</a>
</p>
<p>
Objectives: Know these words:
</p>
<p>
blasphemous
<br />
habeas corpus
<br />
inscrutable
<br />
magistrate
<br />
manifest
<br />
non-conformity
<br />
persecution
<br />
repression
<br />
seditious
<br />
theology
<br />
tolerant
</p>
<p>
Be able to answer these questions:
</p>
<p>
1. What was the core philosophy of the Separatists? Why were they so frustrated with the Church of England?
<br />
2. Why was King James I so opposed to the Separatists&#8217; philosophy and practices? What was his philosophy of obedience?
<br />
3. Why do you think Bradford and his followers moved to Holland? What explanation is given for the tolerance of many religious views in Holland?
<br />
4. Why were Bradford and his followers unable to make their community work in Holland? How did they convince investors that they could be prosperous in
<br />
the New World?
<br />
5. What were three unexpected events that occurred in this documentary? How do you think the story of the Mayflower could have been different?
<br />
6. What was the Mayflower Compact and why was it important?
<br />
7. Before the arrival of the Mayflower, over 50 million Native Americans inhabited North America. What did the British think or know about these groups before
<br />
they arrived?
<br />
8. Describe the early encounters between the British and the Native Americans. How did they communicate with one another?
<br />
9. Do you think the Native Americans stood to benefit anything from cooperating with the British and vice versa? What obstacles prevented them from living peacefully?
<br />
10. At what point do you think the foundation of Plymouth was most imperiled? At what point do you think it was clear that Plymouth would survive?
<br />
11. How did this documentary change your view of the Mayflower and its journey?
</p>
<p>
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/NajXl4tM0f8&amp;hl=en_US&amp;fs=1&amp;"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/NajXl4tM0f8&amp;hl=en_US&amp;fs=1&amp;" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>
</p>
<p>
<a href="http://www.learner.org/amerpass/unit03/index.html" title="Utopian Visions: Puritans and Quakers (Annenberg Video)">Utopian Visions: Puritans and Quakers (Annenberg Video)</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Understanding Puritans</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/understanding_puritans2/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.1872</id>
      <published>2009-09-22T17:28:02Z</published>
      <updated>2007-09-26T17:54:47Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Before 1800"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Before 1800/"
        label="Before 1800" />
      <content type="html"><![CDATA[<p>Team leader responsibilities: Chair the meeting
<br />
<blockquote><p>Agenda:
<br />
1. Decide on a plan to get the work done by Monday night.
<br />
2. Make assignments for the various tasks.</p></blockquote>
<p>
<b>Period 2</b>
<br />
Heather
<br />
Katey M
<br />
Jackie
<br />
Sarah J
<br />
Erin
<br />
Megan R
<br />
Megan W
</p>
<p>
<b>Period 3</b>
<br />
Kelsey H
<br />
Yannes
<br />
Stefan
<br />
Rashelle
<br />
Jake
</p>
<p>
<b>Period 5</b>
<br />
Joe
<br />
Chance
<br />
Amanda
<br />
Sam
<br />
Tasha
<br />
Ranier
</p>
<p>
<b>Period 7</b>
<br />
Jessica
<br />
Tina
<br />
Lisa
<br />
Danielle
</p>]]></content>
    </entry>

    <entry>
      <title>Glossary of concepts related to Puritans</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/puritan_concepts/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.1896</id>
      <published>2009-09-22T17:03:02Z</published>
      <updated>2007-09-29T04:17:44Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Before 1800"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Before 1800/"
        label="Before 1800" />
      <content type="html"><![CDATA[<p><b>apocalypse</b> - The end of the world as it is prophesied in the Bible, especially in the Book of Revelation. Viewing their experiences through the lens of biblical history, the Puritans understood themselves to be living in the &#8220;end time,&#8221; with Christ&#8217;s Second Coming at hand. They believed that their purity as a nation would actually bring about the Apocalypse, at which time Christ would return and reign for a millennium. Then, the earth would be destroyed, the elect would be ushered into heaven, and all others would be cast into hell. Puritan ministers performed complex analyses of scriptural predictions in order to pinpoint the exact day the Apocalypse would occur.
</p>
<p>
<b>captivity narrative</b> - A uniquely American literary genre, the captivity narrative recounts the experience of a white European or, later, an American, during his or (more usually) her captivity and eventual release from hostile enemy captors (generally Native Americans). Enormously popular since their inception in the seventeenth century, captivity narratives influenced the development of both autobiographical writings and the novel in America.
</p>
<p>
<b>covenant theology</b> - The Puritans believed that they had formed a &#8220;covenant,&#8221; or contract with God. Like the Old Testament Hebrews, they felt themselves to be a &#8220;chosen nation,&#8221; the people through whom God would fulfill his divine plan on earth. Their covenant, however, was not the same as the Old Testament covenant God had formed with the Israelites. The coming of Christ had changed the terms of the contract, enabling them to live under a &#8220;covenant of grace.&#8221; Right behavior would follow from their acceptance of and faith in the covenant. On an individual level, Puritans agonized over the status of their covenant with God, but as a group they were more confident. Having entered into voluntary church covenants, and thus into a kind of national covenant with God, they were assured of the centrality of their role in God&#8217;s cosmic plan.
</p>
<p>
<b>election </b>- The Puritan belief that some individuals were predestined by God to be saved and taken to heaven while other individuals were doomed to hell. One&#8217;s status as a member of the elect did not necessarily correlate with good works or moral behavior on earth, for God had extended a &#8220;covenant of grace&#8221; to his chosen people that did not have to be earned, only accepted with faith. Despite the apparent ease with which a believer could attain everlasting salvation, Puritans in practice agonized over the state of their souls, living in constant fear of damnation and scrutinizing their own feelings and behavior for indications of whether or not God had judged them worthy.
</p>
<p>
<b>inner light </b>- The Quaker concept of a manifestation of divine love that dwells within and thus unites all humans. Also called the &#8220;spirit,&#8221; or the &#8220;Christ within,&#8221; the inner light could be experienced without the mediation of a minister or the Bible and was thus powerfully egalitarian and radical in its implications. Quakers viewed the inner light as more important to spiritual development than the study of scripture.
</p>
<p>
<b>jeremiad</b> - A form usually associated with second generation Puritan sermons but which is also relevant to many other kinds of Puritan writing (Mary Rowlandson&#8217;s Narrative is often cited as an example of a jeremiad). Drawing from the Old Testament books of Jeremiah and Isaiah, jeremiads lament the spiritual and moral decline of a community and interpret recent misfortunes as God&#8217;s just punishment for that decline. But at the same time that jeremiads bemoan their communities&#8217; fall from grace, they also read the misfortunes and punishments that result from that fall as paradoxical proofs of God&#8217;s love and of the group&#8217;s status as his &#8220;chosen people.&#8221; According to jeremidic logic, God would not bother chastising or testing people he did not view as special or important to his divine plan.
</p>
<p>
<b>plain style</b> - A mode of expression characterized by its clarity, accessibility, straightforwardness, simplicity, and lack of ornamentation. In early America, the plain-style aesthetic had broad cultural relevance, shaping the language of prose and poetry, the design of furniture and buildings, and the style of painting and other visual arts. Rejecting ornamental flourishes and superfluous decoration as sinful vanity, plain stylists worked to glorify God in their productions rather than to show off their own artistry or claim any renown for themselves. This aesthetic appealed to both Quakers and Puritans.
</p>
<p>
<b>Puritans, Separatist and non-separating </b>- All Puritans dreamed of creating a purified religious community, free from the hierarchies and worldly rituals they felt contaminated the established Church of England. While non-separating Puritans hoped that they could reform the church from within, the Separatists believed that they needed to break from the Church of England entirely. The Separatists represented a minority among Puritans, and they experienced even greater persecution in England than non-separating Puritans did. In America, the Plymouth colony led by William Bradford was Separatist while the Massachusetts Bay colony led by John Winthrop was non-separating.
</p>
<p>
<b>typology</b> - A Puritan method of both reading scripture and using it to understand the significance of historical and current events. In its strictest sense, typology refers to the practice of explicating signs in the Old Testament as foreshadowing events, personages, ceremonies, and objects in the New Testament. According to typological logic, Old Testament signs, or &#8220;types,&#8221; prefigure their fulfillment or &#8220;antitype&#8221; in Christ. Applied more broadly, typology enabled Puritans to read biblical types as forecasting not just the events of the New Testament but also their own historical situation and experiences. In this way, individual Puritans could make sense of their own spiritual struggles and achievements by identifying with biblical personages like Adam, Noah, or Job. But this broad understanding of typology was not restricted to individual typing; the Puritans also interpreted their group identity as the fulfillment of Old Testament prophecy, identifying their community as the &#8220;New Israel.&#8221;
</p>
<p>
<b>weaned affections</b> - This Puritan theological doctrine held that individuals must learn to wean themselves from earthly attachments and make spiritual matters their priority. Inappropriate earthly attachments included material possessions such as one&#8217;s home, furniture, clothing, or valuables. The doctrine of weaned affections could also proscribe things that we do not usually think of as incompatible with spirituality, such as a love of natural beauty, or a dedication to secular learning, or even an intense devotion to one&#8217;s spouse, children, or grandchildren. According to orthodox Puritan theology, anything tied to this worldeven relationships with family members&#1495;should be secondary to God.
</p>]]></content>
    </entry>

    <entry>
      <title>My American Dream</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/my_american_dream/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2761</id>
      <published>2009-09-21T14:09:35Z</published>
      <updated>2009-09-21T14:15:35Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/a_yW3152Ffc&amp;color1=0xb1b1b1&amp;color2=0xcfcfcf&amp;feature=player_embedded&amp;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.youtube.com/v/a_yW3152Ffc&amp;color1=0xb1b1b1&amp;color2=0xcfcfcf&amp;feature=player_embedded&amp;fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="425" height="344"></embed></object> 
<br />
<b>The Pursuit of Happiness</b> (2006)
</p>
<p>
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/uHRvCYC4Iuo&amp;color1=0xb1b1b1&amp;color2=0xcfcfcf&amp;feature=player_embedded&amp;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.youtube.com/v/uHRvCYC4Iuo&amp;color1=0xb1b1b1&amp;color2=0xcfcfcf&amp;feature=player_embedded&amp;fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="425" height="344"></embed></object> 
<br />
<b>Rocky Balboa</b> (2006)
</p>
<p>
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/4JRDqBrkCf0&amp;color1=0xb1b1b1&amp;color2=0xcfcfcf&amp;feature=player_embedded&amp;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.youtube.com/v/4JRDqBrkCf0&amp;color1=0xb1b1b1&amp;color2=0xcfcfcf&amp;feature=player_embedded&amp;fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="425" height="344"></embed></object>
<br />
<b>Dragon: The Bruce Lee Story</b> (1993)
</p>
<p>
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/0Cg6t3w9EzQ&amp;color1=0xb1b1b1&amp;color2=0xcfcfcf&amp;feature=player_embedded&amp;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.youtube.com/v/0Cg6t3w9EzQ&amp;color1=0xb1b1b1&amp;color2=0xcfcfcf&amp;feature=player_embedded&amp;fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="425" height="344"></embed></object> 
<br />
<b>Rudy</b> (1993)
</p>]]></content>
    </entry>

    <entry>
      <title>Writing Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/writing_resources/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2760</id>
      <published>2009-09-21T03:00:13Z</published>
      <updated>2009-09-21T03:03:13Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://english360.fornofrio.net/2009/09/shaped-by-writing/" title="Shaped by Writing">Shaped by Writing</a>: The Harvard undergraduate writing experience (15 minutes)
</p>]]></content>
    </entry>

    <entry>
      <title>Bean Trees Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/bean_trees_resources/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2741</id>
      <published>2009-09-14T00:30:37Z</published>
      <updated>2009-09-14T00:31:36Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.flatheadreservation.org/images/phs/Bean_Trees_Student_Study_Guide.pdf">Bean Trees Study Guide (18-page PDF)</a>
</p>]]></content>
    </entry>

    <entry>
      <title>The Chosen Student Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/the_chosen1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2423</id>
      <published>2009-09-02T15:02:51Z</published>
      <updated>2009-12-07T04:42:51Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Contemporary"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Contemporary/"
        label="Contemporary" />
      <content type="html"><![CDATA[<p><b>Goals for Reading, Discussing and Writing about <i>The Chosen</i></b>
<br />
<blockquote><p>1. Students will learn about others by listening to them and asking them questions about their thinking</li>
<br />
2. Students will learn how texts operate, how they shape our thought and manipulate our emotions</li>
<br />
3. Students will learn about cultures and societies, their varying concepts of the &#8220;good life,&#8221; of love and hate, justice and revenge, good and evil, and other significant issues of human  experience</li>
<br />
4. Students should learn how context shapes meaning</li>
<br />
5. Students should learn about the processes by which they make meaning  (by thinking about literary texts or about life experiences)</p></blockquote>
<p>
<b>Handouts</b>
<br />
<blockquote><a href="http://www.flatheadreservation.org/images/phs/Chosen-schedule-09.pdf"" title="M Umphrey PHS Website">Reading Schedule</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/study_guide_-student.pdf" title="Study Guide Questions">Study Guide Questions</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/TIME_100-freud.pdf"><i>Time</i> article about Freud</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Time-100-Freud_question_worksheet.pdf">Worksheet: questions about Freud article</a>
</p>
<p>
<b>Companion Poems</b>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Her_Head_by_Joan_Murray.pdf">Her Head</a>
</p>
<p>
<b>How has Judaism contributed to Human Rights?</b>
<br />
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/G31e00gTZis&amp;hl=en_US&amp;fs=1&amp;"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/G31e00gTZis&amp;hl=en_US&amp;fs=1&amp;" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>
</p>
<p>
<b>Anchor Texts</b>
</p>
<p>
<a href="http://flatheadreservation.org/images/uploads/Facebook_users_have_poor_grades.pdf">&#8220;Facebook Users Get Worse Grades&#8221;</a> - Reflect on this article together with Chapter 14 of <i>the Chosen</i>
</p>
<p>

</p>]]></content>
    </entry>

    <entry>
      <title>Course Logistics</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/course_logistics/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2737</id>
      <published>2009-08-31T04:29:18Z</published>
      <updated>2009-08-31T04:43:18Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Keep a course Notebook: <a href="http://www.flatheadreservation.org/images/phs/Notebook.pdf">Notebook Handout</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Charles Dickens</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/tale_of_two_cities/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2732</id>
      <published>2009-06-26T04:05:34Z</published>
      <updated>2009-06-26T04:09:33Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[Here's a <a href="http://www.flatheadreservation.org/images/phs/TaleTwoCities-StudyGuide.pdf">study guide</a> (warning: it's a 32-page PDF) 

<p align="center"><span style="font-variant: small-caps">
<font face="Verdana" size="5" color="#800000"><b>Background Information</b></font></span></p>

<p align="left"><font size="2" face="Tahoma" color="#000080"><a href="#Causes">
Causes of the French Revolution</a><br>
<a href="#Estates">The Three Estates</a><br>
<i><a href="#Letters">Letters de Cachet</a></i><br>
<a href="#Citizens">The <i>Citizeness Knitters</i></a><br>
<a href="#Historic Events">Key Historic Events Highlighted in the Novel</a><br>
<a href="#Themes">Themes of Resurrection and Redemption</a><br>
<a href="#Literary">Literary Conventions and Plot Devices</a></font></p>
<p><a name="Causes"></a><b><font size="4" face="Verdana" color="#800000">Causes 
of the French Revolution</font></b></p>
<p>The causes of the French Revolution were more complex than the oversimplified 
&#147;cruelty of the aristocracy.&#148; Poor economic policies, war, and the impossibility 
of social mobility all contributed to the overthrow of the royal family and the 
establishment of the First Republic.<br>
<br>
<font color="#800000">
<b>&#149; Resentment toward absolute monarchy:</b></font><br>
Other nations (especially England) had already begun to limit the power of the 
monarchy and establish parliamentary bodies that, to varying degrees, 
represented the common people&#146;s interests and rights. A rising middle class 
(bourgeoisie) found itself gaining economic power, but was heavily taxed and 
denied political power.<br>
<br>
<font color="#800000">&#149; <b>Resentment toward <i>seigneurialism</i> by peasants, wage-earners, and the 
bourgeoisie:</b></font>Just as other nations were beginning to change the structure of 
their governments, so, too, were they shedding the remnants of feudal economic 
and political control. In France, however, the rural countryside was still 
divided into manors or seigneurs in which serfs who lived on the land owed full 
allegiance and obedience to the lord of the manor who owned the land. As the 
economy shifted from a rural, agrarian economy to an urban commercial and 
pre-industrial economy, those whose incomes did not depend on the land resented 
the fact that they remained bound to the land as serfs.<br>
<br>
<font color="#800000">
<b>&#149; The rise of Enlightenment ideals:</b></font> Europe had already produced a 
generation of writers and philosophers who asserted the equality of humankind 
and the existence of certain basic rights belonging to all humans, regardless of 
birth, race, or class. In France, writers like Voltaire, Denis Diderot, de 
Montesquieu, de Condorcet, and Jean Jacques Rousseau challenged the economic, 
political, and social status quo.<br>
<br>
<font color="#800000">
<b>&#149; Tremendous national debt, and a grossly inequitable system of taxation:</b></font> 
France&#146;s involvement in the Seven Years&#146; War (a multi-nation European war that 
included the last of the American French and Indian Wars) caused King Louis XVI 
to inherit tremendous debt from his grandfather (Louis XV). While early in his 
reign, Louis XVI was eager to reform France&#146;s economy and tax system, he met 
with very strong resistance from his advisors (members of the untaxed First and 
Second Estates&#151;see below) and from his wife Marie Antoinette. Thus, France&#146;s 
mounting debt, a succession of years with poor crops, and the fact that only the 
poorest people in the nation could legally be taxed led to a desperate economy.
<br>
<br>
<font color="#800000">
<b>&#149; A failing economy, partly due to France&#146;s involvement and aid in the 
American Revolution:</b></font> Because France had fought against England in the Seven 
Years&#146; War and had been England&#146;s largest rival in the colonization of America, 
she supported the colonies in the Revolutionary War with both financial and 
military assistance. This served only to increase France&#146;s national debt, along 
with no reform of the tax structure.<br>
<b><br>
<font color="#800000">&#149; Food scarcity in the months immediately before the Revolution:</font></b> A harsh 
winter in 1787, heavy rains in the spring, and then a severe drought in the 
summer of 1788 led to a poor harvest. Of course, the first two estates claimed 
the &#147;first fruits&#148; of the harvest. Grain was in short supply&#151;leading to a 
shortage of bread. When confronted with the hunger of the peasantry, government 
minister Joseph-Fran&#231;ois Foulon insisted that, since grass was good enough for 
his cattle, the peasants could also eat grass. This same famine was the occasion 
for Marie Antoinette&#146;s infamous quip, &#147;let them eat cake.&#148;<br>
<br>
<font color="#800000">
<b>&#149; Resentment at noble privilege and dominance in public life by the ambitious
professional classes:</b></font> There was a growing bourgeoisie that recognized its 
importance to France&#146;s economy and were often courted by impoverished 
aristocrats (think of how Darnay&#146;s inherited estate is described as 
debt-ridden), but who themselves enjoyed no political privilege, or even 
protection, from abuses of the Second Estate&#146;s noble privilege. Think of how 
Doctor Manette&#151;a professional member of the bourgeoisie&#151;was subject to 
imprisonment at the whim of the Evremonde brothers.<br>
<br>
<font color="#800000">
<b>&#149; Influence of the American Revolution:</b></font> In 1776, the English colonies in 
America had rebelled against their &#147;parent country,&#148; had succeeded, and had 
founded a democratic republic based upon Enlightenment principles. France had 
assisted the colonies in their revolution; and now the bourgeoisie and 
intellectuals were poised to follow in the United States&#146; footsteps and replace 
their government with one that would protect their inalienable rights.</p>
<font FACE="Berkeley-Medium">
<p ALIGN="LEFT">There were two parties involved in the French Revolution. The 
Girondins were the moderate republicans and controlled the Legislative Assembly 
from late 1791 to late 1792. They were ultimately ousted by the radical 
Jacobins, led by the infamous Maximilien Robespierre. The Jacobins were the 
party responsible for the Reign of Terror. Clearly, the Defarges are members of this radical party, and it is a Jacobin newspaper that Carton 
reads when he visits the Defarges&#146; wine shop the night before Darnay&#146;s scheduled 
execution. Many historians consider this French Revolution to be a &#147;failed&#148; 
revolution because it resulted in the restoration to the throne of the same royal 
family that had been in power before the formation of the First Republic. Others see the 
French Revolution as the prototype of all later revolutions, especially the Russian Revolution in 
the early twentieth century.</p>
</font>
<p><a name="Estates"></a><b><font face="Verdana" size="4" color="#800000">The 
Three Estates:</font></b></p>
<p>A remnant of medieval feudalism, the three estates were: </p>
<p><b>&#149; the clergy, </b>&quot;those who prayed,&quot; or &quot;those who ministered with the 
word of God; </p>
<p><b>&#149; the aristocracy</b>, originally knights, &quot;those who ministered with the 
sword;&quot; and </p>
<p><b>&#149; everyone else.</b> In the Middle Ages, this body would consist mostly of 
rural peasants, serfs, who were tied to the land and essentially owned by the 
landowner. With the rise of the bourgeoisie, the middle class, however, the 
first two estates&#146; treatment of the third estate became increasingly 
intolerable. In meetings of Estates General, each estate voted as a body. Thus, 
if the First and Second Estates banded together, they controlled two thirds of 
the vote, even though they represented less than two-thirds of the populace. 
This is how the upper estates eventually exempted themselves from taxation, 
placing the full burden of national finance on the impoverished Third Estate.</p>
<p><a name="Letters"></a><b><font face="Verdana" size="4" color="#800000"><i>
Letters de Cachet</i>:</font></b></p>
<p><i>Lettres de cachet </i>may be defined as letters signed by the King of 
France, countersigned by one of his ministers, and closed with the royal seal 
(cachet).</p>
<p>The most famous <i>lettres de cachet</i> were punitive in nature, by which 
the King sentenced a subject to prison without trial and without an opportunity 
to hear the charges filed against him or the chance to defend himself.</p>
<p>Obviously, the <i>lettres de cachet</i> had many potential abuses. They could 
be used by the police to arrest and imprison &quot;undesirables.&quot; Heads of families 
could use them to lock away sons whose behavior was questionable, thus 
&quot;protecting&quot; the family &quot;honor.&quot; Wives could have husbands imprisoned, and 
husbands could have their wives put away. The fact is that the Secretary of 
State issued them at will, and in most cases, the king was completely unaware of 
their issue. In the 18th century, the letters were often issued without the name 
of the targeted person. The name was filled in when the poor subject was 
arrested. </p>
<p><a name="Citizens"></a><font face="Verdana" size="4" color="#800000"><b>The
<i>Citizeness Knitters</i>:</b></font></p>
<p>The <i>citoyennes tricoteuses, citizeness knitters</i>, are famous in French 
Revolution lore. There are dozens of historical and psychological 
interpretations of their acts of unemotional knitting at the foot of the 
guillotine. Dickens clearly wants to portray them as heartless, like their 
leader, Madame Defarge.</p>
<p><a name="Historic Events"></a><b>
<font SIZE="4" face="Verdana" color="#800000">Key Historic Events Highlighted in 
the Novel</p>
</font>
<p>Book I, Chapter 1</b><font FACE="Berkeley-Medium">:</p>
<p>&#149; In 1766, the Chevalier de la Barre was accused of acting disrespectfully to 
a religious procession. De la Barre had not removed his hat when he passed 
within 30 yards of a procession bearing a crucifix. He was condemned to have his 
tongue cut out, his right hand cut off, and afterwards to be burned alive. His 
sentence was later &quot;softened&quot; to decapitation prior to burning. </font></p>
<p><font FACE="Berkeley-Bold"><b>Book I, Chapter 4:</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; In pre-Revolutionary France, the
</font><font FACE="Berkeley-Italic"><i>lettres de cachet</i></font><font FACE="Berkeley-Medium">, 
authorized a person&#146;s arrest and imprisonment&#151;without benefit of trial or 
appeal&#151;at the pleasure of the monarch. These </font>
<font FACE="Berkeley-Italic"><i>lettres de cachet </i></font>
<font FACE="Berkeley-Medium">were sometimes sold, with blanks to be fi lled in 
by the purchaser. Thus the monarch had no knowledge of who was being imprisoned 
under his seal, and anyone with enough money to buy a </font>
<font FACE="Berkeley-Italic"><i>lettre </i></font><font FACE="Berkeley-Medium">
could imprison anyone he wanted for any reason. </font></p>
<p><font FACE="Berkeley-Bold"><b>Book II, Chapter 15:</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; In addition to being a leader of 
the Revolution in her own right, Madame Defarge is one of the famous </font>
<font FACE="Berkeley-Italic"><i>citoyennes tricoteuses </i></font>
<font FACE="Berkeley-Medium">(knitting citizens) of revolutionary Paris, who 
would, during the Reign of Terror, take their knitting with them to watch the 
executions at the guillotine. </p>
<p></font><font FACE="Berkeley-Bold"><b>Book II, Chapter 21:</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; The former fortress and prison 
known as the Bastille was stormed by the peasants of Paris on July 14, 1789. The 
storming of the Bastille marked the beginning of the French Revolution. This day 
is still celebrated as Bastille Day.</p>
<p>&#149; The practice of hanging offenders from street lamps in Paris came to 
represent the revenge of the citizens of the Republic against the abuses of the 
fallen monarchy and aristocracy. &#149; When the Bastille was taken on July 14, 1789, 
there were only seven prisoners in it. </font></p>
<p><font FACE="Berkeley-Bold"><b>Book II, Chapter 22:</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; The red cap worn by Defarge and his 
associates is called a &quot;Phrygian cap&quot; and was worn by French patriots during the 
Revolution. The Phrygians were an ancient Asian people, living in what is now 
Turkey; their cone-shaped caps became &quot;caps of liberty&quot; when the style was 
adopted by freed Roman slaves to symbolize their freedom. These red caps were 
worn especially by the vengeful and violent Jacobin party which was responsible 
for the Reign of Terror.</p>
</font><font FACE="Berkeley-Bold" SIZE="2">
<p></font><font FACE="Berkeley-Medium">&#149; Joseph-Fran&#231;ois Foulon was a government 
minister under Louis XVI. On July 22, 1789, it was discovered that Foulon, who 
had pretended to be dead and staged his own funeral to escape the growing wrath 
of the French peasantry, was betrayed by a household servant and seized by the 
mob, &quot;tried,&quot; and killed&#151;with grass in his mouth, as it was believed that he had 
once said the hungry peasants should eat grass since it was good enough for his 
cattle.</p>
<p></font><font FACE="Berkeley-Bold"><b>Book II, Chapter 24:</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; On August 10, 1792, the royal 
family were besieged in the </font><font FACE="Berkeley-Italic"><i>Palais des 
Tuileries</i></font><font FACE="Berkeley-Medium">, where they had been confined 
after trying to escape Paris in June. On August 13, 1792, they were taken to the 
Temple Prison. Royalty in France was abolished, and the King suspended from 
office.</p>
<p></font><font FACE="Berkeley-Bold"><b>Book III, Chapter 1:</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; The &quot;dawning Republic One and 
Indivisible&quot; is the official establishment of the French Republic on September 
22, 1792. It is this Republic that officially replaced the monarchy in France, 
which had been abolished on September 21, 1792.</p>
<p>&#149; After the King&#146;s power of veto was suspended in early August 1792, laws 
were passed allowing the State to confiscate the property of emigrants.</p>
<p>&#149; When King Louis XVI was imprisoned in the Temple on August 13, 1792, 
foreign ambassadors in France did begin to leave Paris&#151;indicating the refusals 
of the other European nations to formally and offi cially recognize the new 
government in France. Following the execution of Louis XVI early in the 
following year, England expelled the French ambassador and officially became an 
&quot;Enemy of the Republic.&quot;</p>
<p></font><font FACE="Berkeley-Bold"><b>Book III, Chapter 4:</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; The bloodshed that Doctor Manette 
witnesses during the four days he is gone is the &quot;September massacre&quot; or 
&quot;September massacres&quot; of September 2-6, 1792. Parisian mobs stormed the Prisons 
of the Abbaye, La Force, Ch&#226;talet, and the Conciergerie, killing over 1,000 
prisoners, most of whom had been arrested as royalist sympathizers, aristocrats, 
or emigrants, etc.</p>
<p>&#149; Following the establishment of the First Republic, the French developed a 
new calendar to reflect the &quot;dawning of the New Era.&quot; Although it was not put 
into effect until 1793, this Calendar was backdated to the establishment of the 
Republic in 1792 and remained in use in France until January 1, 1806.</p>
</font><font FACE="Berkeley-Medium" SIZE="2">
<p></font><font FACE="Berkeley-Medium">&#149; The use of the guillotine on necklaces 
instead of the cross represented the secularization of France under the 
Republic. Before the Revolution, France had been a Catholic country, but abuses 
of the Church and clergy&#151;who tended to live like aristocracy and sympathize with 
the monarchy&#151;were among the grievances of the revolting peasants. The Republic 
officially recognized &quot;no Religion but Liberty.&quot;</p>
<p>&#149; The &quot;Twenty-two friends of high public mark&quot; are the members of the 
moderate Girondin party, defeated by the Jacobin faction (of Danton, 
Robespierre, etc.) and guillotined on October 31, 1793.</p>
<p></font><font FACE="Berkeley-Bold"><b>Book III, Chapter 5:</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; On November 10, 1793, a vast number 
of Catholic priests and other Catholic clergy renounced the Church and embraced 
the &quot;Religion of Liberty.&quot; This led to widespread celebration throughout France 
that lasted through the rest of November and into December. Citizens desecrated 
churches and crowded the streets, singing and dancing the Carmagnole.</p>
<p>&#149; The Carmagnole was a patriotic dance popular among the French 
revolutionists of 1793.</p>
<p></font><font FACE="Berkeley-Bold"><b>Book III, Chapter 12</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; The Jacobins were members of the 
revolutionary faction that defeated and guillotined the more moderate Girondin 
party. They took control of the Republic in 1793 and ushered in the Reign of 
Terror. Marat, Danton and Robespierre are among the most famous Jacobins.</p>
<p></font><font FACE="Berkeley-Bold"><b>Book III, Chapter 15</p>
<p></b></font><font FACE="Berkeley-Medium">&#149; Madame Roland, a prominent member 
of the Girondin party, asked for pen and paper as she approached the guillotine 
so that she could record the &quot;strange thoughts that were rising&quot; in her. Her 
request was initially denied, but she persisted, appealed to the Revolution&#146;s 
claims to be establishing liberty, and was given her writing utensils.</p>
<p>&#149; The guillotine did, as Carlyle wrote, devour its own children. Not only 
were the royalty, nobles, and other alleged traitors to the Republic killed, 
but, eventually, the Girondin faction succumbed to the Jacobins. Then, when 
Georges Jacques Danton suggested that the fury of the guillotine be moderated, 
he fell to the accusations of his own party. Eventually Maximilien Robespierre 
himself , the architect of the Reign of Terror, was brought down and guillotined 
on July 28, 1794. His death put an end to the Reign of Terror.</p>
</font><font FACE="Berkeley-Bold" SIZE="2">
<p><a name="Themes"></a></font><b><font SIZE="4" face="Verdana" color="#800000">
Themes of Resurrection and Redemption</p>
</font>
<p></b><font FACE="Berkeley-Medium">The two main themes of </font>
<font FACE="Berkeley-Italic"><i>A Tale of Two Cities </i></font>
<font FACE="Berkeley-Medium">are the possibility of creating a new life from 
seemingly hopeless circumstances (resurrection) and the possibility of 
redemption and renewal.</p>
<p></font><font FACE="Berkeley-Bold"><b>The theme of resurrection </b></font>
<font FACE="Berkeley-Medium">is first introduced in the title of Book One, 
&quot;Recalled to Life,&quot; and begins to develop with Mr. Lorry&#146;s imagined conversation 
with the man who has been buried eighteen years. The man is, of course Doctor 
Manette, who is indeed resurrected from the metaphoric grave of a cell in the 
Bastille.</p>
<p>The theme is developed further in Book Two when Charles Darnay is released 
from this charge of treason&#151;a charge that would result in his death if he were 
convicted. Jerry Cruncher himself says he would understand the message &quot;recalled 
to life&quot; if it applied to Darnay.</p>
<p>We are also introduced to Jerry&#146;s &quot;honest trade&quot; as a resurrectionist&#151;a 
person who takes fresh corpses from their new graves and sells them to medical 
students and researchers. This theme of resurrection is finally brought to 
completion with Darnay&#146;s condemnation in France, his certain death, and his 
rescue by Sydney Carton, who dies in his stead. The night before his death, 
Carton recites to himself the opening of the Church of England&#146;s funeral ritual, 
&quot;I am the resurrection and the life&#133;&quot; And Carton is indeed Darnay&#146;s 
resurrection.</p>
<p></font><font FACE="Berkeley-Bold"><b>The theme of redemption </b></font>
<font FACE="Berkeley-Medium">is somewhat less developed, but is nonetheless 
important to the novel. Dr. Manette&#146;s lost time in the Bastille is at least 
partially redeemed by his ability to assist Charles, and to keep him safe during 
his year&#146;s imprisonment, ultimately effecting his first release.</p>
<p>Darnay is arrested in England on charges of treason while attempting to fi nd 
the family so terribly wronged by his father and his uncle and thus redeem his 
family&#146;s name and honor.</p>
<p>Jerry&#146;s participation in an illegal&#151;and possibly immoral&#151;trade is redeemed by 
his ability to use information he gained robbing an empty grave to &quot;convince&quot; 
Barsad to cooperate with Carton.</p>
<p>Mr. Lorry&#146;s lonely life as a &quot;man of business&quot; is redeemed by his close 
friendship with the Manettes and Darnays.</p>
<p>Carton&#146;s wasted life is redeemed by his sacrifice. He is remembered and loved 
for generations and at least two generations of successful, productive men bear 
his name. Finally, France herself, as we are told during Carton&#146;s prophetic 
vision at the end of the book, is redeemed, and a beautiful republic finally 
established.</p>
</font><font FACE="Berkeley-Bold" SIZE="2">
<p><a name="Literary"></a></font><b>
<font SIZE="4" face="Verdana" color="#800000">Literary Conventions and Plot 
Devices</p>
</font>
<p></b><font FACE="Berkeley-Medium">As in all of his novels, Charles Dickens 
employs certain conventions and devices that were popular with his Victorian 
audience.</p>
<p></font><b><font face="Verdana" color="#800000">Stock or Conventional 
Characters:</p>
</font><font FACE="Berkeley-Bold">
<p>Miss Pross-type: </font></b><font FACE="Berkeley-Medium">The blindly devoted 
nurse or governess, who has no life beyond the care of her charge and loves her 
charge, blindly, passionately, and possessively. Often, after the charge&#146;s 
marriage, the governess meets a man and marries toward the end of the novel. 
Dickens&#146; readers may well have expected to see Miss Pross and Mr. Lorry marry at 
some point.</p>
<p></font><font FACE="Berkeley-Bold"><b>Mr. Lorry-type: </b></font>
<font FACE="Berkeley-Medium">The &quot;confirmed bachelor,&quot; the &quot;man of business.&quot; As 
with the governess, Victorian novelists often had their confirmed bachelors fall 
in love and marry at the end of the story. Dickens challenges this convention, 
while also showing Mr. Lorry&#146;s emotional side, even from his first meeting with 
Lucie.</p>
<p></font><font FACE="Berkeley-Bold"><b>Jerry Cruncher-type</b></font><font FACE="Berkeley-Medium">: 
The hardworking, marginally honest (but loveable) representative of the lower 
class; uneducated, but wise; often harsh on the exterior but with a good heart; 
unwaveringly loyal. This is the character who helps the author supply comic 
relief through dialect or the expression of homespun reason.</p>
<p></font><font FACE="Berkeley-Bold"><b>Lucie-type: </b></font>
<font FACE="Berkeley-Medium">Surprisingly, Lucie is not a fully developed, 
well-rounded character. She is the conventional daughter&#151;obedient, loving, 
dutiful. Notice how it takes her no time at all to know and love her father and 
become his faithful servant. She is essentially weak (frequent crying and 
fainting spells) and always dependent on someone else.</p>
</font><font FACE="Berkeley-Bold" SIZE="2">
<p></font><b><font face="Verdana" color="#800000">Plot Devices:</p>
</font><font FACE="Berkeley-Bold">
<p>The hidden and discovered letter: </font></b><font FACE="Berkeley-Medium">
Often this is a diary (and sometimes a missing will or deed), but this was a 
popular device for discovering the past or hearing a character&#146;s innermost 
thoughts.</p>
<p></font><font FACE="Berkeley-Bold"><b>Identical twins switching identities:
</b></font><font FACE="Berkeley-Medium">This plot device&#151;often a comic 
device&#151;dates back at least to Roman comedy playwright Plautus. Renaissance 
playwrights Shakespeare and Marlowe used this device in a number of their plays. 
It is the basis of Mark Twain&#146;s </font><font FACE="Berkeley-Italic"><i>The 
Prince and the Pauper</i></font><font FACE="Berkeley-Medium">. Even today, the 
identical twins switched at birth, separated at birth, or the identical 
strangers who meet one another is a popular fi lm and television convention.</p>
<p></font><font FACE="Berkeley-Bold"><b>Literary Coincidence: </b></font>
<font FACE="Berkeley-Medium">All literary plots are essentially contrived 
because they must work out the way the author intends them, and coincidence is 
an important force in many plots (think of the timing of Macbeth&#146;s meeting the 
witches right after a successful battle or the fact that the separated twin 
sisters in Disney&#146;s </font><font FACE="Berkeley-Italic"><i>The Parent Trap </i>
</font><font FACE="Berkeley-Medium">just happen to be attending the same came at 
the same time). However, a Victorian audience demanded that </font>
<font FACE="Berkeley-Italic"><i>all </i></font><font FACE="Berkeley-Medium">
loose ends be connected at the end of the story. They particularly enjoyed 
revelations like the fact that:</p>
<p>&#149; John Barsad is actually Miss Pross&#146; brother Solomon;</p>
<p>&#149; Madame Defarge just happens to be the remaining sister of the injured 
family;</p>
<p>&#149; Madame Defarge just happens to have married the former servant of the 
doctor</p>
<p>summoned to help the sister and brother (remember, we are told that Defarge 
did not know his wife&#146;s identity until the storming of the Bastille and his fi 
nding of the Doctor&#146;s letter);</p>
<p>&#149; the Doctor and Lucie meet the nephew (and son) of the Doctor&#146;s tormentors 
on his journey to escape their torment;</p>
<p>&#149; his daughter would actually marry into the family he has so vehemently 
denounced.</p>
<p></font><font FACE="Berkeley-Bold"><b>Scenes of comic relief: </b></font>
<font FACE="Berkeley-Medium">Largely a dramatic device, but also popular in 
novels, these scenes either follow or precede scenes of intense action or 
emotion. For example, the scene in Jerry Cruncher&#146;s house follows the Doctor&#146;s 
mysterious discovery and escape from France and precedes Charles Darnay&#146;s trial 
for treason. The scene in which Miss Pross complains to Mr. Lorry about the 
&quot;hundreds of people&quot; who invade their quiet home foreshadows the hoards of 
people who </font><font FACE="Berkeley-Italic"><i>will </i></font>
<font FACE="Berkeley-Medium">threaten the family&#146;s peace and happiness. And the 
scene in which Miss Pross and Jerry are discussing leaving France follows the 
tension of Darnay&#146;s trial and Carton&#146;s plans to save him, and precedes Miss 
Pross and Madame Defarge&#146;s fight.</p>
</font><font FACE="Berkeley-Bold" SIZE="2">
<p></p>
</font>
<p>&nbsp;</p>]]></content>
    </entry>

    <entry>
      <title>A River Runs Through It</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/a_river_runs_through_it2/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2729</id>
      <published>2009-05-26T13:43:30Z</published>
      <updated>2009-05-26T13:43:29Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.flatheadreservation.org/images/phs/Unit_Overview_River_runs_through_it.pdf">Overview (1 page PDF)</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/AssignmentChecklistRiverRuns.pdf">Assignment Checklist (1 page PDF)</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/printer/a_river_runs_through_it/" title="Detailed Assignment Guidesheet">Detailed Assignment Guidesheet</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Assignment_schedule_for_River_unit.pdf">Daily Assignment Schedule - 2-page table (PDF)</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Quotes-.River_Runs_Through_It.pdf">Quotes (PDF)</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/quotes_river/" title="Quotes">Quotes</a> from the novel
<br />
<a href="http://www.generationterrorists.com/quotes/river.html" title="More quotes">More quotes</a> from the novel
<br />
<a href="http://www.bradpittfan.com/pics/river.htm" title="Images">Images</a> from the movie
</p>
<p>
<a href="http://polson.ning.com/" title="PHS">Ning Space</a>
<br />
<a href="https://www.google.com/accounts/ServiceLogin?service=pages&amp;continue=http%3A%2F%2Fpages.google.com%2F&amp;ltmpl=yessignups" title="Google">Google Page Creator</a>
</p>
<p>
<b>Discussion Schedule (have the reading finished by these dates)</b>
</p>
<p>
Tuesday, May 19 (1-20)
<br />
Wednesday, May 20 (21-48
<br />
Thursday, May 21 (48-63)
<br />
Friday, May 22 (64-79)
<br />
Tuesday, May 26 (80-95)
<br />
Wednesday, May 27 (96-104)
</p>
<p>
<b>Writing and Performance Assignment Schedule (late work not accepted)</b>
</p>
<p>
&#8220;Persuasive Essay&#8221; due June 1
<br />
Essay of Place draft due June 2
<br />
Finished Google Web site June 8
</p>
<p>
<b>Essential Questions</b>
</p>
<p>
What is &#8220;the chief end of man"--or, in other words, what is the purpose of life?
<br />
Why can we never leave our youth and childhood behind? 
<br />
Can fly fishing, or any art, take the place of religion in a person&#8217;s life?
<br />
In what ways do men and women tend to differ? In what ways are they the same?
<br />
What should the relation between men and women be?
<br />
What is place? What role does it play in our lives?
<br />
What is &#8220;it&#8221; in &#8220;a river runs through it.&#8221;
</p>
<p>
<b>Discussion Questions</b>
</p>
<p>
<i>A River Runs Through It</i>, like <i>Huckleberry Finn</i>, features a river as a central image. In what ways are the rivers in these two novels similar? In what ways do they differ?
<br />
What does Norman get from fishing? Why does it matter to him?
</p>
<p>
<b>Overview</b>
</p>
<blockquote><p>First, create a <b>Web page with four quotations</b> from the book and four photographs that illustrate the quotations. These quotations each communicate a different piece of information about the novel:
</p>
<ul type="square"><li>a quotation that shows the importance of place (the setting) in the novel</li>
<li>a quotation that shows the relationship between two characters (e.g., for <i>A River Runs Through It</i>, the two brothers)</li>
<li>a quotation that helps establish a metaphor explored in the book (e.g., for <i>A River Runs Through It</i>, the river or fly-fishing is a metaphor for life)</li>
<li>the quote from the novel, the one passage or quotation that captures the essence, the true meaning, of the novel for you
</ul></li>
<br />
Next, write two hyperlinked pieces: an <b>essay of place</b>, and a <b>persuasive essay</b> explaining the quotation you&#8217;ve chosen as the most important quotation of the book.

<p>
While you&#8217;re reading, keep a <b>response reading journal</b> that collects quotations from your readings. Include these details for each journal entry:
<br />
<ul type="square"><li>Date.</li>
<li>Two significant quotations from the day&#8217;s reading and the page number that they appeared on.</li> 
<li>Personal connections between your own life and events in the day&#8217;s reading.</li>
<li>Two interesting questions you want to discuss further in class.</li></ul></p></blockquote>
<p>
<font size=+2><b>Assignment Guide Sheet</b></font>
</p>
<blockquote>
<p>
<b>Assignment 1: Four quotations on your home page (using <a href="https://www.google.com/accounts/ServiceLogin?service=pages&amp;continue=http%3A%2F%2Fpages.google.com%2F&amp;ltmpl=yessignups" title="Google">Google Page Creator</a>) with explanatory paragraphs</b>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/dvd_mri029-500_thumb.jpg" onclick="window.open('http://www.flatheadreservation.org/images/phs/dvd_mri029-500.jpg','popup','width=515,height=375,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"><img src="http://www.flatheadreservation.org/images/phs/dvd_mri029-500_thumb.jpg" width="250" height="180" /></a>
</p>
<blockquote>Choose quotes from the novel and four photographs that illustrate the quotations. These quotations each communicate a different piece of information about the novel:

<p>
    * a quotation that shows the importance of place (the setting) in the novel
<br />
    * a quotation that shows the relationship between two characters (e.g., for <i>A River Runs Through It</i>, the two brothers)
<br />
    * a quotation that helps establish the metaphor explored in the book (e.g., for A River Runs Through It, the river or fly-fishing is a metaphor for life)
<br />
    * the quote of the novel, the one passage or quotation that captures the essence, the true meaning, of the novel for you 
</p>
<p>
Write a paragraph giving a &#8220;close reading&#8221; of each quote and post this below the quote.
<br />
<a href="http://www.readwritethink.org/lesson_images/lesson782/HypertextResponse.pdf" title="Assignment sheet">Assignment sheet for quotations</a>
<br />
</p></blockquote>
<p>
<b>Assignment 2: Essay of Place</b>
<br />
<blockquote><p>Write a descriptive essay about a place that has had some special meaning in your life--a place that is still a part of you. Provide specific physical details about the place, and explain how this place helped form you into the person you are today.
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/dvd_mri038-500_thumb.jpg" onclick="window.open('http://www.flatheadreservation.org/images/phs/dvd_mri038-500.jpg','popup','width=515,height=393,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"><img src="http://www.flatheadreservation.org/images/phs/dvd_mri038-500_thumb.jpg" width="250" height="189" /></a>
</p>
<p>
As you get started, take a few minutes to think about how you want to order your essay: What will you summarize? What will you dramatize? Will you use chronological order or flashback?
</p>
<p>
Publish your essay of place on Ning then solicit comments on it. When it is finished, post a copy on your Google web page along with at least one photograph. Link the page to the quotation of place that you&#8217;ve chosen from your novel.
</p>
<p>
Here&#8217;s a <a href="http://www.montanaheritageproject.org/edheritage/tools/eopintro.htm" title="Montana Heritage Project">complete unit</a> I wrote for &#8220;Writing an Essay of Place.&#8221; It&#8217;s a larger process than I&#8217;m asking you to do, but it&#8217;s a good source of ideas.
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Essay_of_Place_overview.pdf">Essay of Place Assignment Sheet (2 page PDF)</a>
<br />
<a href="http://www.montanaheritageproject.org/edheritage/HE_99sum/SU99index.htm" title="Essays of Place">Essays of Place</a> written by Montana high school students
</p>
<blockquote><i>The hunger for place is a hunger for orientation in a universe that cannot be known. Think of the consummate folly of attempting to go away from <b>here</b> when the constant endeavor should be to get nearer and nearer <b>here</b>.

<p>
<b>Here</b> are all the friends I ever had or shall have, and as friendly as ever. . .A man dwells in his native valley like a corolla in its calyx, like an acorn in its cup.
</p>
<p>
<b>Here</b>, of course, is all that you love, all that you expect, all that you are.
<br />
<p align="right">Henry David Thoreau</p>
<br />
</i></blockquote></blockquote>
<p>
<b>Assignment 3: Persuasive essay arguing for your view of <i>A River Runs Through It</i> and including what you think is the quotation that best gets to the heart of the novel.</b>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/dvd_mri050-500_thumb.jpg" onclick="window.open('http://www.flatheadreservation.org/images/phs/dvd_mri050-500.jpg','popup','width=515,height=335,scrollbars=no,resizable=yes,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"><img src="http://www.flatheadreservation.org/images/phs/dvd_mri050-500_thumb.jpg" width="250" height="160" /></a>
</p>
<blockquote><p>If you really want to get better at this sort of writing, read this little essay, &#8221;<a href="http://www.flatheadreservation.org/images/phs/Writing_about_ideas_in_literature.pdf">Writing about an idea or a theme in a literary work</a>,&#8221; very carefully. Underline things and think about them. </p></blockquote>
<p>
<b>Assignment 4: Turn in your reading journal</b>. It should include at least 5 entries, and each entry should include the following:
<br />
<blockquote><p>date
<br />
2 quotations with page number
<br />
notations making personal connections
<br />
2 interesting questions you want to discuss further in class</p></blockquote>
<p>
<b>Assignment 5: Participate meaningfully in class seminars </b>on the novel, focusing on close reading of passages in the novel. Come prepared with your reading journal and with questions to discuss. These discussion may take place orally or they may take place online, using the Ning Forum.
</p>
<p>
<b>Extra Credit:</b>
</p>
<p>
1. 2. <b>Original photography</b> illustrating your &#8220;essay of place&#8221; and character sketch.
<br />
3. <b>Best 3 Google Web pages:</b> 40 bonus points (completeness, thoughtfulness and beauty)</p></blockquote>
<p>
<b>Handouts and Notes</b>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Clos-_Reading-Francin-_Prose.pdf">&#8220;Close Reading&#8221;</a> from <i>the Atlantic Monthly</i>
</p>
<p>
Poem: &#8220;A Ritual to be Read to Each Other&#8221; by William Stafford
</p>
<p>
<a href="http://www.readwritethink.org/lesson_images/lesson782/ht-planning.pdf" title="Planning worksheet">Planning sheet</a>
<br />
Essays will be scored using <a href="http://www.readwritethink.org/lesson_images/lesson782/Rubric.pdf" title="this rubric">this rubric</a></blockquote>
<p>
It&#8217;s tricky to get photos to school, since they&#8217;re blocked in email and flickr is also blocked. Try to insert your photos at home. If you can&#8217;t do this, you can upload photos to Mosaic, then download them at school so you can insert them into your webpage. See me for a demonstration.
</p>
<p>
From <a href="http://www.readwritethink.org/lessons/lesson_view.asp?id=782" title="NCTE">NCTE</a>
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Great Gatsby Resources for Advanced English 11</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/great_gatsby_resources_for_advanced_english_11/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2717</id>
      <published>2009-05-26T13:41:26Z</published>
      <updated>2009-05-26T13:41:25Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><i>pagination from Wordsworth Classics edition</i> <a href="http://www.flatheadreservation.org/images/phs/Great_Gatsby_AP_Student_Study_Guide.pdf">PDF copy of Study Guide</a>
</p>
<p>
<a href="http://www.shmoop.com/intro/literature/f-scott-fitzgerald/the-great-gatsby.html" title="Schmoop Study Guide">Schmoop Study Guide</a>
</p>
<p>
Two Critical Essays: Use these as models for writing persuasive essays organized around a thesis: <a href="http://www.flatheadreservation.org/images/phs/2_critical_essays.pdf">2_critical_essays.pdf</a>
</p>
<p>
<b><i>People Like Us</i> (PBS Film)</b>
</p>
<p>
    * <a href="http://www.youtube.com/watch?v=DrJfdD73QOU" title="The intro/opening segment ">The intro/opening segment </a>      
<br />
    * <a href="http://www.youtube.com/watch?v=HNAWRymmtKA&amp;feature=related " title="How to Marry Rich">How to Marry Rich</a>
<br />
    * <a href="http://www.youtube.com/watch?v=j_Rtl3Y4EuI&amp;feature=PlayList&amp;p=C6D871A2A8C3C8EF&amp;index=1" title="Kitchenwares Tour ">Kitchenwares Tour </a>
<br />
    * <a href="http://www.youtube.com/watch?v=snbW6hI8xuY">WASP Lessons</a>
<br />
    * <a href="http://www.youtube.com/watch?v=Vn1FfMNYxUE&amp;feature=related" title="Gnomes Are Us">Gnomes Are Us</a>
<br />
    * <a href="http://www.youtube.com/watch?v=Q8VXrHeLqBA&amp;feature=related" title="Tammy's Story ">Tammy&#8217;s Story </a>
<br />
    * <a href="http://www.youtube.com/watch?v=gdey7Qa52nM&amp;feature=related" title="Trouble in Paradise">Trouble in Paradise</a>
<br />
    * <a href="http://www.youtube.com/watch?v=0D8GIFG4EXo&amp;feature=PlayList&amp;p=C6D871A2A8C3C8EF&amp;index=4" title="Friends in Low Places">Friends in Low Places</a>
<br />
    * <a href="http://www.youtube.com/watch?v=VyjmmIZ2HZQ " title="All You Need Is Cash">All You Need Is Cash</a>
<br />
    *<a href="http://www.youtube.com/watch?v=Y08n1iwa9DQ&amp;feature=PlayList&amp;p=C6D871A2A8C3C8EF&amp;index=6" title="Belles, Belles, Belles">Belles, Belles, Belles</a>
<br />
    * I can&#8217;t find the last one, &#8220;Most Likely to Succeed.&#8221;  I show it because it reminds me of our high school a bit, but does not directly tie in to the novel.
</p>
<p>
<a href="http://www.youtube.com/watch?v=i5AjBc9-Wcs&amp;feature=related" title="Music Video">Music Video</a>
</p>
<p>
<b>Terminology</b>: Describe the use in this book of the following literary and rhetorical devices:<div align="center"> <center>
<br />
<table border="0" cellpadding="0" cellspacing="0" style="border-collapse: collapse" bordercolor="#111111" width="90%" id="AutoNumber1"> <tr> <td width="25%">simile</td> <td width="25%">personification</td> <td width="25%">oxymoron</td> <td width="25%">prologue</td> </tr> <tr> <td width="25%">motif</td> <td width="25%">irony</td> <td width="25%">zeitgeist</td> <td width="25%">caricature</td> </tr> <tr> <td width="25%">hyperbole</td> <td width="25%">asyndeton</td> <td width="25%">analogy</td> <td width="25%">denotation</td> </tr> <tr> <td width="25%">metaphor</td> <td width="25%">polysyndeton</td> <td width="25%">connotation</td> <td width="25%">dynamic character</td> </tr> <tr> <td width="25%">foil</td> <td width="25%">anaphora</td> <td width="25%">alliteration</td> <td width="25%">static character</td> </tr> <tr> <td width="25%">satire</td> <td width="25%">metonymy</td> <td width="25%">prologue</td> <td width="25%">&nbsp;</td> </tr></table></center></div>
<p>
<b>Chapter 1 </b>
<br />
1. What purpose do the first four paragraphs serve? 
<br />
2. What advice does Nick&#146;s father give him? Why does Fitzgerald have Nick share his father&#146;s advice with the reader? 
<br />
3. What other method does Fitzgerald use to persuade the reader that Nick is credible? 
<br />
4. What does the statement &#147;When I came back from the East last autumn...&#148; tell you about the story to follow? (Pg. 3) 
<br />
5. What importance is there in Nick&#146;s statement that &#147;My family have been prominent, well-to-do people&#133;for three generations&#148;? (Pg. 4) 
<br />
6. What is the setting of the story? 
<br />
7. Interpret the meaning of the simile on page 5: &#147;They [books on investments and securities] stood like new money from the mint.&#148; 
<br />
8. How is West Egg different from East Egg? 
<br />
9. What is the relationship between Nick and Daisy and Tom Buchanan? 
<br />
10. Interpret the oxymoron on page 6: &#147;two old friends whom I scarcely knew at all.&#148; 
<br />
11. Cite the device and the imagery that Fitzgerald uses on page 6 to make the Buchanan palace seem alive. 
<br />
12. Describe Tom Buchanan. What tone does the author use in his description? 
<br />
13. Analyze Fitzgerald&#146;s method of creating mood inside the Buchanan&#146;s palace. 
<br />
14. Who is the other person in the Buchanan home? 
<br />
15. Cite the anaphoras on page 8 and explain their use.
<br />
16. What is the author&#146;s purpose in the use of the hyperbole on page 8? 
<br />
17. What annoys Nick about Tom&#146;s response to Nick&#146;s employment? 
<br />
18. What allusion is on page 10? What social issue does the allusion highlight? 
<br />
19. Why does Miss Baker refer to California after the discussion of white supremacy? 
<br />
20. What unflattering feature of Jordan Baker&#146;s personality is revealed? 
<br />
21. During the dinner conversation, Nick wanted to &#147;look squarely at every one, and yet to avoid all eyes.&#148; (Pg. 12) This statement is an example of what type of rhetorical device? What does this convey to the reader? 
<br />
22. When the telephone rings, why does Nick say that no one &#147;was able utterly to put this fifth guest&#146;s shrill metallic urgency out of mind&#148;? (Pg. 12) 
<br />
23. Why is Nick&#146;s instinct &#147;to telephone immediately for the police&#148;? (Pg. 12)
<br />
24. What is the reader left to think about Daisy&#146;s emotional state and her relationship with Tom?
<br />
25. What did Daisy mean when she said of Pammy, &#147;I&#146;m glad it&#146;s a girl. And I hope she&#146;ll be a fool &#150; that&#146;s the best thing a girl can be in this world, a beautiful little fool.&#148; (Pg. 13) 
<br />
26. When Nick starts the engine of his car, Daisy stops him by saying, &#147;We heard you were engaged to a girl out West.&#148; What does Nick&#146;s answer reveal about his character? (Pg. 15) 
<br />
27. As Nick drives away from their house, he experiences a number of conflicting emotions. Why does he feel touched? Why does he feel confused and disgusted? 
<br />
28. How does Fitzgerald change the mood of the story in the last paragraph on page 15? 
<br />
29. The green light that Gatsby is staring at is mentioned several more times and assumes symbolic significance. Where do you think the green light might be? What can it mean? 
</p>
<p>
<b>Chapter 2 </b>
<br />
1. In the first paragraph of chapter two, what device does Fitzgerald use to create a musical effect? Cite some examples. 
<br />
2.On a literal level, what is the valley of ashes? What might it represent on a symbolic level? 
<br />
3. What overlooks the valley of ashes? What might they symbolize? 
<br />
4. Contrast Daisy with Myrtle, Tom&#146;s mistress. 
<br />
5. Analyze Nick&#146;s statement &#147;I think he&#146;d tanked up a good deal at luncheon, and his determination to have my company bordered on violence.&#148; (Pg. 17) 
<br />
6. What method of character development does Fitzgerald employ to develop the character of Myrtle? 
<br />
7. What is the significance of the name George Wilson? 
<br />
8.How has Fitzgerald used colors to support the developing theme of the American dream? 
<br />
9. Myrtle says of her sister, &#147;She&#146;s said to be very beautiful by people who ought to know.&#148; (Pg. 19) What does this statement say about society? 
<br />
10. On page 20, how does Fitzgerald emphasize the smallness of the apartment? 
<br />
11. In what way is the party in the apartment different from the dinner at the Buchanan&#146;s in Chapter 1? In what way is it similar? 
<br />
12. The McKees appear only in chapter II. Why does Fitzgerald bring them into the story? 
<br />
13. What does Fitzgerald convey through the use of an asyndeton on page 21? 
<br />
14. What rumor does Nick hear about Gatsby? 
<br />
15. Although Catherine comments that neither Tom nor Myrtle care about the one they married, how does the reader know that that isn&#146;t true? 
<br />
16. What seems to be the feeling towards divorce in the 1920s? 
</p>
<p>
Chapter 3 
<br />
1. What is the setting for chapter 3? 
<br />
2. In what ways is chapter 2 like chapter 3? 
<br />
3. Why is it that Fitzgerald waits until chapter III to introduce Gatsby? 
<br />
4. There are at least two examples of a polysyndenton in chapter three. Identify one of them, and explain what it contributes to the impact of the chapter. 
<br />
5. What does Nick&#146;s twice insisting that he had &#147;actually been invited&#148; suggest? 
<br />
6. Nick comments that the people at the party conduct &#147;themselves according to the rules of behavior associated with an amusement park.&#148; Analyze what is being conveyed by the comparison. 
<br />
7.What metaphor does Fitzgerald use to convey the theme of hollowness in the upper class? 
<br />
8. Explain the meaning of the statement &#1221;the scene had changed before my eyes into something significant, elemental, and profound.&#148; (Pg. 31) 
<br />
9. What do Gatsby and Nick have in common?
<br />
10. What does Fitzgerald subtly wish to convey about Gatsby when he has Nick say, &#1221;I was looking at an elegant young roughneck, &#133;whose elaborate formality of speech just missed being absurd. Some time before he introduced himself I&#146;d got a strong impression that he was picking his words with care&#148;? (Pg. 32) 
<br />
11. Although there are many rumors regarding Gatsby, there is a clue given to the reader about what the nature of Gatsby&#146;s work may be. What is the clue? What might it indicate is his work? 
<br />
12.In what way is Gatsby&#146;s behavior at his party quite unlike the behavior of most of his guests? 
<br />
13. Explain the symbolism of the simile, on page 34&#1221;at intervals she appeared suddenly at his side like an angry diamond, and hissed: &#145;You promised!&#146; into his ear.&#148; 
<br />
14. What is the significance of the phone calls that Gatsby receives? How does it add to the development of his character? What does the lack of calls to Buchanan demonstrate? 
<br />
15. What does the author do to convey the idea that the gentleman driving the car is drunk? 
<br />
16. The first three chapters span what time period?
<br />
17. In the final paragraph on page 37, how does the viewpoint change? How is this accomplished? What is the purpose? 
<br />
18. What purpose does the character of Jordan Baker fulfill? 
<br />
19. What is the second ugly character .aw revealed about Jordan? How does this affect the reader? 
<br />
20. What do you think Fitzgerald wishes to convey about Gatsby&#146;s parties through the incident with the drunks and the car, and the husbands and wives arguing? 
<br />
21. What is revealed about Nick&#146;s character? 
<br />
22. How does the motif of geography in the novel help shape its themes and characters? 
</p>
<p>
<b>Chapter 4 </b>
<br />
1. What is the significance of the date on the timetable? 
<br />
2. How does Fitzgerald&#146;s use of names further the motif of geography? 
<br />
3. What symbol does Fitzgerald use as the outward manifestation of Gatsby&#146;s wealth? What theme does this reinforce? 
<br />
4. Describe Gatsby&#146;s car. 
<br />
5. What causes Nick to think that Gatsby cannot be telling the truth? What changes his mind? 
<br />
6. Gatsby fills Nick in on the details of his life for what reason? 
<br />
7. At the bottom of page 44, how does Fitzgerald further the mood and reinforce the theme of the Roaring Twenties? 
<br />
8. Where do Gatsby and Nick go for lunch? Whom do they meet? 
<br />
9. Analyze the techniques used to develop the character of Wolfsheim. 
<br />
10. What do the characters of Buchanan and Wolfsheim represent? 
<br />
11. What government act extended the activities of the underworld? 
<br />
12. Explain Gatsby&#146;s statement: &#147;Miss Baker&#146;s a great sportswoman, you know, and she&#146;d never do anything that wasn&#146;t all right.&#148; (Pg. 46) 
<br />
13. What matter does Jordan speak to Nick about? How does she know this information? 
<br />
14. Jordan informs the reader that Daisy was 18 when she and Gatsby consummated their love. What significance does her age have? 
<br />
15. Why is Daisy so upset on her wedding day?
<br />
16. Interpret the metaphor &#147;He [Gatsby] came alive to me [Nick], delivered suddenly from the womb of his purposeless splendor.&#148; (Pg. 51) 
<br />
17. Why is it important to Gatsby that Daisy see his house? 
<br />
18. What symbolism is there in the name Daisy Fay? 
<br />
19. What overall purpose do the three events in chapter 4 accomplish? 
<br />
20. What part of Freytag&#146;s pyramid does the description of the parties fill? 
</p>
<p>
<b>Chapter 5 </b>
<br />
1. When Nick comes home to West Egg that night, what does he find unusual? How does this description contribute to the mood? 
<br />
2. Why does Gatsby suggest that he and Nick &#147;go to Coney Island,&#148; or &#147;take a plunge in the swimming-pool&#148;? (Pg. 52) 
<br />
3. How does Gatsby show that he is grateful to Nick for his agreeing to call Daisy? 
<br />
4. Throughout Chapter V, how does Fitzgerald use weather to reinforce the mood? On the morning of the meeting, the climax of this part of the story, it is pouring. 
<br />
5. Cite the hyperbole, on page 54, and explain the effects created. 
<br />
6. How does Daisy&#146;s agreeing to come to Nick&#146;s house without Tom contribute to the theme of changing moral values? 
<br />
7. Explain how the ambiguous metaphor on page 54, about Daisy&#146;s voice, is appropriate.
<br />
8. How does Fitzgerald show the changes in Gatsby? 
<br />
9. What literary purpose does the broken clock serve? 
<br />
10. What makes Gatsby sound like Tom? 
<br />
11. What arouses Nick&#146;s suspicions about Gatsby&#146;s past? What suspicion does this apparent lie reinforce? 
<br />
12. What changes take place in Gatsby during Daisy&#146;s visit? 
<br />
13. Analyze the passage &#147;He had been full of the idea so long, dreamed it right through to the end, waited with his teeth set, so to speak, at an inconceivable pitch of intensity. Now, in the reaction, he was running down like an overwound clock.&#148;  (Pg. 59) 
<br />
14. Why does Daisy cry about the shirts?
<br />
15. As the three of them look across the bay toward Daisy&#146;s house, the narrator states, &#147;Possibly it had occurred to him that the colossal significance of that light had now vanished forever. Compared to the great distance that had separated him from Daisy, it had seemed very near to her, almost touching her. It had seemed as close as a star to the moon. Now it was again a green light on a dock. His count of enchanted objects had diminished by one.&#148; (Pg. 60) What does Fitzgerald mean by: 
<br />
	A. &#147;Compared to the great distance&#148; between Gatsby and Daisy? 	
<br />
	B. &#147;Now it was again a green light on a dock. His count of enchanted objects had  diminished by one.&#148; 
<br />
16. Explain the statement on page 61, &#147;Daisy tumbled short of his dreams.&#148; 
<br />
17. Cite and explain the metaphor on page 62. 
<br />
18. Who is the protagonist: Gatsby or Nick? 
</p>
<p>
<b>Chapter 6 </b>
<br />
1. What is the purpose of chapter 6? 
<br />
2. In what sense does this chapter epitomize the American dream? 
<br />
3. What purpose does the biblical allusion on page 63: &#147;He was a son of God&#133;and he must be about His Father&#146;s business&#148; serve? 
<br />
4. Who is Jay Gatsby? 
<br />
5. What is the meaning of the statement &#1221;they [reveries] were a satisfactory hint of the unreality of reality, a promise that the rock of the world was founded securely on a fairy&#146;s wing&#148;? (Pg. 63) 
<br />
6. Analyze the meaning of the name Dan Cody. 
<br />
7. How long was Gatsby employed by Cody?
<br />
8. Why does Gatsby not drink? 
<br />
9. Describe Tom&#146;s first visit to Gatsby&#146;s home. 
<br />
10. Knowing Tom, how can one account for his comment about being &#147;old-fashioned&#148; and &#147;women run[ning] around too much these days to suit [him]&#148;? (Pg. 66) 
<br />
11. What does the word choice &#147;menagerie&#148; help Fitzgerald convey? 
<br />
12. Explain Gatsby&#146;s expectations of Daisy. Are they realistic? 
<br />
13. On page 71, Nick narrates the event of Daisy&#146;s and Gatsby&#146;s first kiss. He says that Gatsby knows that, after kissing Daisy, &#1221;his mind would never romp again like the mind of God.&#148; What does this mean? 
</p>
<p>
<b>Chapter 7 </b>
<br />
1.What allusion does Trimalchio represent? 
<br />
2. Identify and explain the personification at the bottom of page 71. 
<br />
3. What foreshadows trouble at the Gatsby mansion? 
<br />
4. Why did Gatsby replace his servants? 
<br />
5. What is the meaning of Gatsby&#146;s statement to Tom, &#147;I&#146;m right across from you&#148;? (Pg. 75) 
<br />
6. What does Daisy mean when she says &#1221;everything&#146;s so confused&#148;? (Pg. 75) 
<br />
7. What alerts Tom that his wife has other interests? What is Tom&#146;s response? 
<br />
8. Interpret the metaphor &#147;Her voice is full of money.&#148;  (Pg. 76) 
<br />
9. Identify the oxymorons that describe the expressions that pass by Gatsby&#146;s face. Explain their importance. 
<br />
10. On page 77, Tom insists on driving Gatsby&#146;s car. Why? How does Daisy respond? How does Gatsby respond? 
<br />
11. Does Tom like Gatsby&#146;s car? 
<br />
12. What causes Mr. Wilson&#146;s sickness? 
<br />
13. Why do you suppose that Tom decides to let Wilson finally have the car he has been promising him? 
<br />
14. How does the news about the Wilson&#146;s leaving affect Tom? 
<br />
15. Who sees Tom driving the yellow car besides Mr. Wilson? What is their response? 
<br />
16. What do Tom and Wilson have in common? How does each respond? 
<br />
17. What is Gatsby&#146;s explanation of his being at Oxford? Why is it important to Tom to expose the Oxford-man lie? 
<br />
18. Reread the paragraph that begins at the bottom of page 82. What theme is supported by Tom&#146;s argument? 
<br />
19. When Gatsby confronts Tom with the comments &#147;Your wife doesn&#146;t love you. She&#146;s never loved you. She loves me.&#148; (Pg. 83) What is Gatsby&#146;s meaning? 
<br />
20. What is Tom&#146;s response to his wife&#146;s infidelity? 
<br />
21. Describe the emotions that Daisy goes through as Tom and Gatsby argue. 
<br />
22. How has Gatsby gotten some of his money? What does Tom say that startles Gatsby? 
<br />
23.What is the outcome of the argument in the hotel room? 
<br />
24. Analyze the significance of Nick&#146;s statement &#1221; &#145;I just remembered that today&#146;s my birthday.&#146; I was thirty.&#148; (Pg. 86) 
<br />
25. How does Fitzgerald foreshadow what is about to happen? 
<br />
26. Analyze the statement &#147;So we drove on toward death through the cooling twilight.&#148; (Pg. 87) 
<br />
27. How does Myrtle die? 
<br />
28. Why is Myrtle running out of the garage towards the car? 
<br />
29. How do Tom, Jordan, and Nick find out about the accident? 
<br />
30. What is Wilson&#146;s response to Myrtle&#146;s death? Tom&#146;s response? Gatsby&#146;s response? 
<br />
31. What does Fitzgerald convey to the reader by choosing the word &#147;conspiring&#148; in the description of Tom and Daisy in their kitchen? 
<br />
32. Why does Gatsby loiter outside of the Buchanans&#146; house? How does Fitzgerald let the reader know there is nothing for Gatsby to wait for? 
</p>
<p>
<b>Chapter 8 </b>
<br />
1. How is the tone set for Chapter 8? 
<br />
2. Interpret the simile &#1234;Jay Gatsby&#146; had broken up like glass against Tom&#146;s hard malice&#340; (Pg. 94) 
<br />
3. On page 96, how does Fitzgerald capture the 1920s? 
<br />
4. Summarize the beginning of Daisy and Gatsby&#146;s relationship, five years ago.&nbsp; 
<br />
5. Why does Daisy give up on Gatsby? How does Gatsby learn of the relationship between Daisy and Tom? 
<br />
6. In what ways can the letter from Daisy be considered Gatsby&#146;s salvation? 
<br />
7. After all that has taken place, how does Nick say he feels about Gatsby? What does he mean? Is he sincere? 
<br />
8. In general, what is Nick&#146;s attitude toward Gatsby? 
<br />
9. What does Jordan do the morning following the accident? 
<br />
10. What clues give Wilson the idea there is another man? 
<br />
11. What conclusion does Wilson come to regarding his wife&#146;s death? 
<br />
12. Whom does Wilson associate with the yellow car? 
<br />
13. What motif reappears in Chapter 8? What meaning is attributed to it? 
<br />
14. Where does Wilson spend the day following Myrtle&#146;s death?
<br />
15. Where do you think Wilson gets the information to track the car to Gatsby? Use evidence from the text. 
<br />
16. Analyze the technique that Fitzgerald uses in the second paragraph, on page 103, to indicate that Gatsby is no longer living in a dream and to foreshadow who his killer may be. 
<br />
17. How is Gatsby&#146;s body discovered? 
<br />
18. Why does no one find Gatsby earlier? 
<br />
19. What do you suspect happened to Wilson? 
<br />
20. Cite examples of the motif that nature reflects life. 
</p>
<p>
<b>Chapter 9 </b>
<br />
1. How does Catherine respond during the trial? 
<br />
2. Why is it important to Catherine that her story seem true? 
<br />
3. When it is time for the funeral, what becomes of Gatsby&#146;s friends? 
<br />
4. Describe Gatsby&#146;s father. 
<br />
5. Mr. Gatz compares his son, Jay Gatsby, to James J. Hill. Explain the significance of this allusion. 
<br />
6. What irony is found in the fourth paragraph on page 108? 
<br />
7. Where is Gatsby buried? 
<br />
8. What is Nick&#146;s fantastic dream? How does Nick view the East? 
<br />
9. What becomes of Jordan and Nick&#146;s relationship? 
<br />
10. Explain the analogy on page 113 comparing drivers with relationships. 
<br />
11. When does Nick head west? 
<br />
12. Describe Nick and Tom&#146;s final meeting. 
<br />
13. Summarize the final message of the epilogue. 
<br />
14. From what viewpoint is The Great Gatsby told? 
<br />
15. What events constitute the rising action, climax, and falling action? 
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Gatsby_Student_Companion_critical_essay-formatted.pdf">Student Companion (12-page PDF)</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/literary_terms-freytag.pdf">literary terms and Freytag&#8217;s triangle</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Portfolio Essays</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/portfolio_essays/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2730</id>
      <published>2009-05-18T04:03:36Z</published>
      <updated>2009-05-18T04:09:36Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Cut each essay to 200 words. Move the file to Word and save on the server where you will be able to find it next year. Proofread meticulously, using the checklist I provided. Late essays will lose 1 letter grade per day.
</p>
<p>
Tuesday: Citizenship
<br />
Wednesday: Work Ethic
<br />
Thursday: Personal Goals
</p>
<p>
<b>PROOFREADING CHECKLIST</b>
</p>
<p>
<b>Ideas and Organization</b>
</p>
<p>
&#9633; My essay states its main point clearly at the beginning.
<br />
&#9633; I write in paragraphs, and each paragraph has one purpose
<br />
&#9633; My ending fits the rest of the essay
</p>
<p>
<b>Style</b>
</p>
<p>
&#9633; I speak in my own voice, saying what I think and giving examples from my real life.
<br />
&#9633; I avoid vague platitudes and cliches. 
<br />
&#9633; I have no Google copy and paste blah blah blah
</p>
<p>
<b>Conventions</b>
</p>
<p>
&#9633; Each sentence is a complete thought, with a subject and a verb.
<br />
&#9633; My point of view is consistent (first person&#150;no slipping to second person)
<br />
&#9633; I have checked that I am using the right word (their, there, they&#8217;re; to, too; were, where; then, than; its, it&#8217;s; etc)
<br />
&#9633; My pronouns have clear antecedents
<br />
&#9633; My pronouns agree with their antecedents (singular with singular, plural with plural)
<br />
&#9633; I use both possessive apostrophes and apostrophes in contractions
<br />
&#9633; I use no comma splices (joining two independent clauses with only a comma)
<br />
&#9633; I set off introductory phrases and clauses with a comma
<br />
&#9633; I join two independent clauses with a conjunction and a comma
<br />
&#9633; I set off apposatives (non-essential interrupting phrases) with commas
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/proofreading_checklist.pdf">PDF version of Checklist</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Work ethic quotes</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/work_ethic_quotes/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2724</id>
      <published>2009-05-12T15:03:41Z</published>
      <updated>2009-05-12T15:05:41Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>You cannot plough a field by turning it over in your mind. 
</p>
<p>
Much good work is lost for the lack of a little more.&nbsp; ~Edward H. Harriman
</p>
<p>
I&#8217;m a great believer in luck, and I find the harder I work the more I have of it.&nbsp; ~Thomas Jefferson
</p>
<p>
Character is what emerges from all the little things you were too busy to do yesterday, but did anyway.&nbsp; ~Mignon McLaughlin, The Second Neurotic&#8217;s Notebook, 1966
</p>
<p>
I&#8217;ve got a theory that if you give 100 percent all of the time, somehow things will work out in the end.&nbsp; ~Larry Bird
</p>
<p>
Men are made stronger on realization that the helping hand they need is at the end of their own arm.&nbsp; ~Sidney J. Phillips
</p>
<p>
He who would learn to fly one day must first learn to stand and walk and run and climb and dance; one cannot fly into flying.&nbsp; ~Friedrich Nietzsche
</p>
<p>
When I was young, I observed that nine out of ten things I did were failures.&nbsp; So I did ten times more work.&nbsp; ~George Bernard Shaw
</p>
<p>
Put your heart, mind, intellect and soul even to your smallest acts.&nbsp; This is the secret of success.&nbsp; ~Swami Sivananda
</p>
<p>
There&#8217;s nothing like biting off more than you can chew, and then chewing anyway.&nbsp; ~Mark Burnett
</p>
<p>
Some people dream of success&#8230; while others wake up and work hard at it.&nbsp; ~Author Unknown
</p>
<p>
The winds and waves are always on the side of the ablest navigators.&nbsp; ~Edward Gibbon, The Decline and Fall of the Roman Empire
</p>
<p>
Even if you&#8217;re on the right track, you&#8217;ll get run over if you just sit there.&nbsp; ~Will Rogers
</p>
<p>
Gift, like genius, I often think only means an infinite capacity for taking pains.&nbsp; ~Jane Ellice Hopkins
</p>
<p>
The artist is nothing without the gift, but the gift is nothing without work.&nbsp; ~Emile Zola
</p>
<p>
Many people think they want things, but they don&#8217;t really have the strength, the discipline.&nbsp; They are weak.&nbsp; I believe that you get what you want if you want it badly enough.&nbsp; ~Sophia Loren
</p>
<p>
Be not afraid of going slowly; be afraid only of standing still.&nbsp; ~Chinese Proverb
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Work_Ethic_Quotes.pdf">Work_Ethic_Quotes.pdf</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Citizenship Assignment and Quotes</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/citizenship_assignment_and_quotes/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2723</id>
      <published>2009-05-11T15:08:28Z</published>
      <updated>2009-05-11T15:11:27Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>1. What is citizenship?
</p>
<p>
2. What are my personal goals and/or commitments, in regards to being a member of this democracy?
</p>
<p>
<b>Things to think about:</b>
</p>
<p>
&#8220;Citizenship consists in the service of the country&#8221;&#8212;Jawaharlal Nehru
</p>
<p>
&#8220;Man is at the bottom an animal, midway, a citizen, and at the top, divine. But the climate of this world is such that few ripen at the top.&#8221;&#8212;Henry Ward Beecher
</p>
<p>
The punishment which the wise suffer, who refuse to take part in government, is to live under the government of worse men.&#8212;Plato
</p>
<p>
&#8220;A generation that acquires knowledge without ever understanding how that knowledge can benefit the community is a generation that is not learning what it means to be citizens in a democracy.&#8221;&#8212;Elizabeth L. Hollander
</p>
<p>
&#147;The first requisite of a good citizen in this republic of ours is that he shall be able and willing to pull his own weight.&#148;  --Theodore Roosevelt
</p>
<p>
&#147;As citizens of this democracy, you are the rulers and the ruled, the law-givers and the law-abiding, the beginning and the end.&#148;&#8212;Adlai E. Stevenson
</p>
<p>
&#147;Gardens, scholars say, are the first sign of commitment to a community. When people plant corn they are saying, let&#8217;s stay here. And by their connection to the land, they are connected to one another.&#148;&#8212;Anne Raver
</p>
<p>
&#147;Citizenship is what makes a republic; monarchies can get along without it&#148;&#8212;Mark Twain
</p>
<p>
&#147;A passive and ignorant citizenry will never create a sustainable world.&#148;&#8212;Andrew Gaines
</p>
<p>
&#147;Citizenship consists in the service of the country&#148;&#8212;Jawaharlal Nehru
</p>
<p>
&#147;Citizens have the natural right and the common sense duty to protect themselves, their families, their communities, and their property...guns are the equalizing tools of self-protection, utopian lamentations notwithstanding.&#148;&#8212;Edgar A. Suter
</p>
<p>
&#8220;Let us at all times remember that all American citizens are brothers of a common country, and should dwell together in bonds of fraternal feeling."	-- Abraham Lincoln 
</p>
<p>
&#8220;Good government is no substitute for self-government.&#8221;&#8212;Mohandas Gandhi
</p>
<p>
&#8220;Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it&#8217;s the only thing that ever has.&#8221;&#8212;Margaret Mead 
</p>
<p>
&#8220;If you look back in history, you will find the core mission of public education in America was to create places of civic virtue for our children and for our society. As education undergoes the rigors of re-examination and the need for reinvention, it is cruicial to remember that the key role of public schools is to preserve democracy and, that as battered as we might be, our mission is central to the future of this county.&#8221;&#8212;Paul D. Houston
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/citizenship_quotes.pdf">citizenship_quotes.pdf</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Things Fall Apart</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/things_fall_apart/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2736</id>
      <published>2009-05-01T17:13:15Z</published>
      <updated>2009-07-08T17:14:15Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.lawrence.edu/dept/freshman_studies/resource/fsachebe.html">http://www.lawrence.edu/dept/freshman_studies/resource/fsachebe.html</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Story: Background</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/story_background/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2719</id>
      <published>2009-04-14T15:28:24Z</published>
      <updated>2009-05-26T13:59:24Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Story: Background
</p>
<p>
<i>Quests sometimes fail, are abandoned or dissipated into distractions; and human lives may in all these ways also fail. But the only criteria for success or failure in a human life as a whole are the criteria of success or failure in a narrated or to-be-narrated quest.</i>
<br />
Alasdair MacIntyre
</p>
<p>
<i>Reality is a story--not just a tale that is told but a story that is really so.</i>
<br />
Robert P. Roth 
</p>
<p>
Narrative talks about events unfold in time, as opposed to other ways of talking about things, such as analysis, which freezes time to examine relationships, as when we make a diagram of a toaster to see how all its parts work together. When historians analyze data, such as the number of people of different races incarcerated in a particular state during a given year, they are using quantitative analysis rather than narrative to find out how things really were.
</p>
<p>
I emphasize stories because, as societies and individuals, we are stories, and we understand and communicate our lives as stories. Since we not only live our stories but also tell them, we pass our experience around for others to think about. We are made to encode and decode meaning through stories.
</p>
<p>
All stories are narratives but not all narratives are stories. We transform narrative to story by find patterns that mean something. We have all had the experience of listening to someone talk who goes on and on without a point, and then this happened, and then I said this, and then he said that, and then this happened. We want to interrupt and ask, &#147;What&#146;s your point?&#148;  In other words, what&#146;s the theme? The theme may not be stated explicitly, but we &#147;get it&#148;  like the punch line of a joke.
</p>
<p>
Philosopher Alasdair MacIntyre tells us that
</p>
<p>
<i>It is through hearing stories about wicked stepmothers, lost children, good but misguided kings, wolves that suckle twin boys, youngest sons who receive no inheritance but must make their own way in the world and eldest sons who waste their inheritance on riotous living and go into exile to live with the swine, that children learn or mislearn both what a child is and what a parent is, what the cast of characters may be in the drama into which they are born and what the ways of the world are. Deprive children of stories and you leave them unscripted, anxious stutterers in their actions as in their words.</i>
</p>
<p>
Here&#146;s Bud Cheff, Sr., a seventy-eight-year-old rancher from the Mission Valley in western Montana, chatting about his early life:
</p>
<p>
<i>Whenever Adelle and I went somewhere, or when we were returning home, I always put the money I had left into a big jar I kept buried. When I got a chance to buy the land where the ranch now sits, I dug out my money cache, and got out the jug that I had buried. I poured it all out on a tarp and counted it; I had just enough money to pay cash for that piece of land, 160 acres. There were pennies, nickels, dimes, quarters, half dollars, dollar bills, five, ten and twenty dollar bills.
</p>
<p>
I went into the house and had Adelle and all the kids come out to my shed to see what I had on my tarp, and they all just stared at it. Adelle knew I&#146;d been saving money, but had no idea it amounted to that much and the kids were so excited because they had never seen that much money at one time. I let them each take a handful of small change and then I gathered it up, went to the courthouse in Polson, and paid for my land.</i>
</p>
<p>
What interests me in this little story about what Bud wants, how he sets about getting it, and what consequences follow, is how effortlessly it encodes a host of values. Children who grow up immersed in such everyday narratives probably do not notice that Bud is teaching his understanding of the little secrets of being human: what the rules of life are, what roles are available, and how to get what is wanted. In a way that&#146;s so natural it&#146;s easy to miss seeing, Bud teaches perseverance, postponement of gratification, affection for spouse and children, delight in the chance to struggle for a dream. 
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Story-form-rubric.pdf">Story Form Rubric</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Six-stages-of-Story.pdf">Six Stages of Story</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Mrs_Kellys_Monster.pdf">Mrs. Kelly&#8217;s Monster</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Google Presentation</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/google_presentation/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2718</id>
      <published>2009-04-06T19:14:13Z</published>
      <updated>2009-04-06T19:19:14Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>1. Get a Google Account (google &#147;<a href="https://www.google.com/accounts/NewAccount" title="Google Account">Google Account</a>&#148;). Use the same user name and password you use to log on to the school server. 
</p>
<p>
2. After you apply, Google will send you an email. Click the link in that email to activate your account. 
</p>
<p>
3. Go to your Google Account and find &#147;Google Docs.&#148;
</p>
<p>
4. In Google Docs, click &#147;New&#148; then select &#147;Presentation.&#148;
</p>
<p>
5. When your new presentation open, in the upper right click &#147;Share&#148; then &#147;Share with Others&#148; then enter your partner&#146;s email and click the &#147;invite collaborators&#148; button. (Be sure you are sharing as a &#147;collaborator&#148; and not just as a &#147;viewer&#148; or your partner will not be able to edit the presentation).
</p>
<p>
6. Go back to the &#147;Share&#148; button in the upper right corner and click it, but now choose &#147;Publish &#145; Embed.&#148; This will publish your presentation on the Internet, so anyone can view it. When it is your turn to present to the class, you will use my computer to go the address of your presentation. You won&#146;t need to log on to your Google Account because the presentation is published on the Internet where anyone can see it.
</p>
<p>
7. Now, copy the URL of your presentation (from the navigation window at the top of the page in Internet Explorer, then paste it in an email addressed to my school email address: mumphrey &#147;at&#148; polson.k12.mt.us
</p>
<p>
8. In the subject line of the email put ONLY THIS: &#147;YourName&#148; Presentation
</p>
<p>
<b>If you cannot create a Google Account or you are absent on the day you are called on to give a presentation, to get credit for this assignment you will need to turn in a two-page report, with citations, within 2 days.</b>
</p>]]></content>
    </entry>

    <entry>
      <title>Gatsby: Presentations on 1920s</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/gatsby_presentations_on_1920s/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2715</id>
      <published>2009-03-26T19:58:28Z</published>
      <updated>2009-04-09T15:29:27Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><TABLE BORDER="1" WIDTH="100%"><TR VALIGN="TOP"><TD>Intro to history of Jazz</TD><TD>	Tom, Martin</TD><TD>Colin, Logan</TD></TR><TR VALIGN="TOP"><TD>Prohibition</TD><TD>	Christa, Staci</TD><TD>Rob, Colter</TD></TR><TR VALIGN="TOP"><TD>Dance (with demonstration ofthe Charleston)</TD><TD>Melissa, Loni</TD><TD></TD></TR><TR VALIGN="TOP"><TD>Bootlegging and Crime,including St. Valentines DayMasscre</TD><TD>Brian</TD><TD>Josh, Chastity</TD></TR><TR VALIGN="TOP"><TD>Flappers and Fashion</TD><TD>	Olivia </TD><TD>Kaydee, Phyllicia</TD></TR><TR VALIGN="TOP"><TD>Automobiles and Technology</TD><TD>	Derrick, Brock</TD><TD>Amanda, Rachel</TD></TR><TR VALIGN="TOP"><TD>Houdini</TD><TD>	Josh, Devin</TD><TD>Sam, Matthew</TD></TR><TR VALIGN="TOP"><TD>Lindbergh</TD><TD>	Cassie</TD><TD>Randy, James</TD></TR><TR VALIGN="TOP"><TD>Scopes (monkey) trial</TD><TD>Logan C</TD><TD></TD></TR><TR VALIGN="TOP"><TD>Warren G. Harding, includingTeapot Dome and &#8220;return tonormalcy&#8221;</TD><TD></TD><TD></TD></TR><TR VALIGN="TOP"><TD>Calvin Coolidge, includinglaissez faire</TD><TD></TD><TD></TD></TR><TR VALIGN="TOP"><TD>Theodore Lothrop Stoddard&#8217;sThe Rising Tide of ColorAgainst White WorldSupremacy.</TD><TD></TD><TD></TD></TR><TR VALIGN="TOP"><TD>Kaiser Wilhelm</TD><TD>	Caitlin, Angela</TD><TD>	Scott, Taylor</TD></TR><TR VALIGN="TOP"><TD>&#8220;Black Sox&#8221; team of 1919and the fixing of the WorldSeries</TD><TD>	Wes, Jayson, Trevor</TD><TD>Jayson, Jack</TD></TR><TR VALIGN="TOP"><TD></TD><TD></TD><TD></TD></TR></TABLE>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Powerpoint_presentation_09.pdf">Rubric for Scoring Powerpoints</a>
</p>]]></content>
    </entry>

    <entry>
      <title>F. Scott Fitzgerald</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/f_scott_fitzgerald/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2714</id>
      <published>2009-03-24T14:46:41Z</published>
      <updated>2009-03-24T14:56:41Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="The Great Gatsby"
        scheme="http://www.flatheadreservation.org/index.php/site/category/the_great_gatsby/"
        label="The Great Gatsby" />
      <content type="html"><![CDATA[<p><b>Reading Schedule</b>
</p>
<p>
Chapter 1 pages 3-16
<br />
Chapter 2 pages 16-26
<br />
Chapter 3 pages 26-39
<br />
Chapter 4 pages 39-52
<br />
Chapters 5-6 pages 52-71
<br />
Chapter 7 pages 71-93
<br />
Chapter 8 pages 93-103
<br />
Chapter 9 pages 103-115
</p>
<p>
<b>Topics for Presentations</b>
<br />
<blockquote><p><i>1. 2-person teams
<br />
2. Do these on Google Presentations &amp; make the document is shared so either person can get to it
<br />
3. Must be at least 5 minutes long
<br />
4. Must consist of at least 5 slides with at least 3 images
<br />
5. Very few words on slides: DO NOT READ YOUR SLIDES TO THE CLASS</i></p></blockquote>
<p>
<blockquote><p>1. Intro to history of Jazz, focusing on 1920s (with a couple musical examples)
<br />
2. Prohibition		
<br />
3. Dance (with demonstration of the Charleston)
<br />
4. Bootlegging and Crime, including St. Valentines Day Masscre
<br />
5. Flappers and Fashion
<br />
6. Automobiles and Technology	
<br />
7. Houdini
<br />
8. Lindbergh
<br />
9. Scopes (monkey) trial
<br />
10. Warren G. Harding, including Teapot Dome and &#147;return to normalcy&#148;
<br />
11. Calvin Coolidge, including laissez faire
<br />
12. Theodore Lothrop Stoddard&#146;s The Rising Tide of Color Against White World Supremacy.
<br />
13. Kaiser Wilhelm
<br />
14. &#147;Black Sox&#148; team of 1919 and the fixing of the World Series</p></blockquote>
<p>
<b>Vocabulary Chapters 1-2</b>
<br />
<blockquote><p>1. epigram 
<br />
2. supercilious
<br />
3. extemporizing 
<br />
4. rotogravure 
<br />
5. peremptory 
<br />
6. oculist 
<br />
7. contiguous 
<br />
8. hauteu</p></blockquote>
<p>
<b>Chapter 1</b>
<br />
<i>Study Questions</i>
<br />
1. How does the narrator describe Gatsby?
<br />
2. From where did the narrator come and why?
<br />
3. Describe the narrator&#8217;s house.
<br />
4. Describe the Buchanans&#8217; house.
<br />
5. How does Nick know Daisy and Tom?
<br />
6. Describe Tom. What is our impression of him in Chapter 1?
<br />
7. What kind of person is Daisy?
<br />
8. What did Miss Baker tell Nick about Tom?
<br />
9. When asked about her daughter, what does Daisy say?
<br />
10. How is Gatsby introduced into the novel?
</p>
<p>
<b>Chapter 2</b>
<br />
<i>Study Questions</i>
<br />
1. What is the &#8220;valley of ashes&#8221;?
<br />
2. What are the &#8220;eyes of Dr. T. J. Eckleburg?
<br />
3. Who did Tom take Nick to meet?
<br />
4. Identify Myrtle and George Wilson.
<br />
5. What did Mrs. Wilson buy while she was out with Tom and Nick?
<br />
6. Where did they go? What was at 158th Street?
<br />
7. Identify Catherine and Mr. &amp; Mrs. McKee.
<br />
8. What does Mr. McKee tell Nick about Gatsby?
<br />
9. What reason did Myrtle give for marrying George Wilson?
<br />
10. What did Tom do to Myrtle when she mentioned Daisy&#8217;s name?
</p>
<p>
<b>Chapter 3 Vocabulary</b>
<br />
<blockquote><p>1. omnibus 
<br />
2. erroneous
<br />
3. innuendo
<br />
4. convivial 
<br />
5. obstetrical 
<br />
6. rivulets
<br />
7. caterwauling 
<br />
8. affectations 
<br />
9. subterfuges</p></blockquote>
<p>
<b>Chapter 3</b>
<br />
<i>Study Questions</i>
<br />
1. Describe Gatsby&#8217;s wealth. List some of the things that represent wealth.
<br />
2. What kind of people come to Gatsby&#8217;s parties?
<br />
3. Why did Nick Carraway go to the party?
<br />
4. How does Nick meet Gatsby?
<br />
5. What are some of the stories about Gatsby?
<br />
6. Is Gatsby a &#8220;phony&#8221;?
<br />
7. Describe Nick&#8217;s relationship with Jordan.
</p>
<p>
<b>Chapter 4-5 Vocabulary</b>
<br />
<blockquote><p>1. labyrinth 
<br />
2. raja 
<br />
3. somnambulatory 
<br />
4. denizen 
<br />
5. receptacles 
<br />
6. corrugated 
<br />
7. nebulous</p></blockquote>
<p>
<b>Chapter 4</b>
<br />
<i>Study Questions</i>
<br />
1. Who is Klipspringer?
<br />
2. What does Gatsby tell Nick about himself?
<br />
3. What &#8220;matter&#8221; did Gatsby have Jordan Baker discuss with Nick?
<br />
4. Who is Mr. Wolfshiem?
<br />
5. What does Mr. Wolfshiem tell Nick about Gatsby?
<br />
6. What does Jordan tell Nick about Daisy, Gatsby and Tom?
</p>
<p>
<b>Chapter 5</b>
<br />
<i>Study Questions</i>
<br />
1. Describe the meeting between Gatsby and Daisy. Why was he so nervous?
<br />
2. How long did it take Gatsby to make the money to buy the mansion?
<br />
3. Why did Gatsby want Daisy to see the house and his clothes?
<br />
4. What had the green light on the dock meant to Gatsby?
<br />
5. What had Gatsby turned Daisy into in his own mind?
<br />

<br />
<b>Chapters 6-7 Vocabulary</b>
<br />
<blockquote><p>1. meretricious 
<br />
2. euphemisms 
<br />
3. caravansary 
<br />
4. contingency
<br />
5. inexplicable 
<br />
6. libertine 
<br />
7. expostulation 
<br />
8. traversed 
<br />
9. scrutiny</p></blockquote>
<p>
<b>Chapter 6</b>
<br />
<i>Study Questions</i>
<br />
1. What is Gatsby&#8217;s real history? Where is he from, and what is his name?
<br />
2. What did Dan Cody do for Gatsby?
<br />
3. What is Daisy&#8217;s opinion of Gatsby&#8217;s party? How does this affect him?
<br />
4. What does Gatsby want from Daisy?
</p>
<p>
<b>Chapter 7</b>
<br />
<i>Study Questions</i>
<br />
1. What was Gatsby&#8217;s reaction to Daisy&#8217;s child?
<br />
2. What did Wilson do to Myrtle? Why?
<br />
3. Why do the five drive into the city on such a hot afternoon?
<br />
4. What does Gatsby think about Daisy&#8217;s relationship with Tom?
<br />
5. What is Daisy&#8217;s reaction to both men?
<br />
6. What happens on the way home from New York?
<br />
7. How do these people react to Myrtle&#8217;s death:
<br />
	a. Wilson:
<br />
	b. Tom:
<br />
	c. Nick:
<br />
	d. Gatsby:
<br />
8. What is the true relationship between Daisy and Tom?
</p>
<p>
<b>Chapters 8-9 Vocabulary</b>
<br />
<blockquote><p>1. redolent
<br />
2. corroborate
<br />
3. pneumatic 
<br />
4. amorphous 
<br />
5. addenda 
<br />
6. unpunctual 
<br />
7. provincial 
<br />
8. incoherent 
<br />
9. pandered 
<br />
10. commensurate</p></blockquote>
<p>
<b>Chapter 8</b>
<br />
<i>Study Questions</i>
<br />
1. What does Gatsby tell Nick about his past? Is it true?
<br />
2. What does Michaelis believe caused Myrtle to run?
<br />
3. Why did she run?
<br />
4. Why does Wilson believe that Gatsby killed Myrtle?
<br />
5. What does Wilson do?
</p>
<p>
<b>Chapter 9</b>
<br />
<i>Study Questions</i>
<br />
1. Why couldn&#8217;t Nick get anyone to come to Gatsby&#8217;s funeral?
<br />
2. Who is Henry C. Gatz?
<br />
3. What is the book Henry Gatz shows Nick? Why is it important to the novel?
<br />
4. What happens between Nick and Jordan Baker?
<br />
5. What does Nick say about people like Daisy and Tom?
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Gatsby_Student_Study_Guide.pdf">Gatsby Study Guide (4 page PDF)</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Great Gatsby</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/great_gatsby/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2713</id>
      <published>2009-03-24T13:56:46Z</published>
      <updated>2009-03-24T14:19:45Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="The Great Gatsby"
        scheme="http://www.flatheadreservation.org/index.php/site/category/the_great_gatsby/"
        label="The Great Gatsby" />
      <content type="html"><![CDATA[<div style="width:425px;text-align:left" id="__ss_1189808"><a style="font:14px Helvetica,Arial,Sans-serif;display:block;margin:12px 0 3px 0;text-decoration:underline;" href="http://www.slideshare.net/mumphrey/great-gatsby-vocabulary-chapters-12?type=powerpoint" title="Great Gatsby Vocabulary Chapters 1-2">Great Gatsby Vocabulary Chapters 1-2</a><object style="margin:0px" width="425" height="355"><param name="movie" value="http://static.slideshare.net/swf/ssplayer2.swf?doc=gatsbychap1-2vocab-090324091308-phpapp01&stripped_title=great-gatsby-vocabulary-chapters-12" /><param name="allowFullScreen" value="true"/><param name="allowScriptAccess" value="always"/><embed src="http://static.slideshare.net/swf/ssplayer2.swf?doc=gatsbychap1-2vocab-090324091308-phpapp01&stripped_title=great-gatsby-vocabulary-chapters-12" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="355"></embed></object><div style="font-size:11px;font-family:tahoma,arial;height:26px;padding-top:2px;">View more <a style="text-decoration:underline;" href="http://www.slideshare.net/">presentations</a> from <a style="text-decoration:underline;" href="http://www.slideshare.net/mumphrey">mumphrey</a>.</div></div>]]></content>
    </entry>

    <entry>
      <title>Stephen Crane, Eng 11</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/stephen_crane_eng_11/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2711</id>
      <published>2009-03-03T21:01:54Z</published>
      <updated>2009-03-06T14:58:54Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Red Badge Courage"
        scheme="http://www.flatheadreservation.org/index.php/site/category/red_badge_courage/"
        label="Red Badge Courage" />
      <content type="html"><![CDATA[<p>Fri, Mar 6   Chapters 1-2
<br />
Mon Mar 9    Chapters 3-5
<br />
Tue Mar 10    Chapters 6-9
</p>
<p>
Wed Mar 11   Chapters 10-13
<br />
Thur Mar 12   Chapters 14-17
<br />
Fri Mar 13  Chapters 18-21
<br />
Mon Mar 16  Chapters 22-24
</p>
<p>
<b>A FEW NOTES ABOUT The Red Badge of Courage</b>
</p>
<p>
<b>I. Biography of Crane</b>
<br />
-Born 1871 Newark, NJ.
<br />
-14th (and last) child in family.
<br />
-Father was Rev. Jonathan Crane, Methodist minister.
<br />
-Was noted for skepticism, kindness, and devotion to animals and sports.
<br />
-At college he focused on baseball, pool and poker.
<br />
-1893 published<i> Maggie: A Girl of the Streets</i> pseudonymously.
<br />
-1895 published <i>The Red Badge of Courage</i> as a book.
<br />
-1897-98 wrote &#8220;The Open Boat,&#8221; &#8220; The Bride Comes to Yellow Sky&#8221; and &#8220;The Blue Hotel.&#8221;
<br />
-Met Cora Howorth Stewart (or Cora Taylor) and enjoyed her company and conversation. They stayed together.
<br />
-Traveled as a reporter to Mexico, Greece, Cuba, Puerto Rico, among other places.
<br />
-March 1900 leaned over to pat a dog and found his mouth full of blood. Died 3 months later.
</p>
<p>
<b>II. Conflicts in The Red Badge of Courage</b>
<br />
-Man vs. Himself - Henry&#8217;s internal struggle
<br />
-Man vs. Nature - The soldiers out in the elements, in the forest; their physical needs for food, water, etc.
<br />
-Man vs. Man - the battle itself and the soldiers&#8217; struggle among themselves arguing 
<br />
-Romantic vs. Realistic - Henry&#8217;s romantic ideas of war and heroes versus the reality of a not-so-pretty nor so heroic war
</p>
<p>
<b>III. Point of View</b>
<br />
-Story is written from the omniscient point of view although we mostly see things from Henry&#8217;s perspective.
<br />
-There are lots of references to point of view in the novel, as if point of view were itself a theme
<br />
-perhaps that a person&#8217;s point of view determines their own reality.
</p>
<p>
<b>-Some point of view references:</b>
<br />
a. Chapter 8, &#182; 7 &#8220;Reflecting, he saw a sort of humor in the point of view of himself and his fellow during the late encounter.&#8221;
<br />
b. Chapter 14, &#182; 15 &#8220;Apparently, the other had now climbed a peak of wisdom from which he could perceive himself as a very wee thing.&#8221;
<br />
c. Chapter 22, &#182; 13 &#8220;He was deeply absorbed as a spectator.&#8221;
<br />
d. Chapter 24, &#182; 14 &#8220;From this present view point he was enabled to look upon them in spectator fashion and to criticize them with some correctness, for his new condition had already defeated certain sympathies.&#8221;
<br />
e. Chapter 24 &#182; 15 &#8220;He spent delightful minutes viewing the gilded images of memory.&#8221;
</p>
<p>
<b>IV. Structure of the novel</b>
<br />
Chapters 1 - 5 Henry as thoughtful youth vs. rowdy and common regiment
<br />
Chapters 6 - 12 Henry is introduced to death in war and nature
<br />
Chapters 13 - 16 Wilson has matured; Henry is still an adolescent
<br />
Chapters 17 - 23 Henry matures and joins the battle on Wilson&#8217;s level; they both join completely with the regiment.
<br />
Chapter 24 Henry reflects on his experiences and summarizes his thoughts.
</p>]]></content>
    </entry>

    <entry>
      <title>Advanced English 11: D&#8217;Arcy McNickle</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/advanced_english_11_darcy_mcnickle/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2710</id>
      <published>2009-03-03T17:14:09Z</published>
      <updated>2009-03-03T18:30:08Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Advanced Placement"
        scheme="http://www.flatheadreservation.org/index.php/site/category/advanced_placement/"
        label="Advanced Placement" />
      <category term="Contemporary"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Contemporary/"
        label="Contemporary" />
      <content type="html"><![CDATA[<p><a href="http://polson.wikispaces.com/Wind+From+An+Enemy+Sky" title="Class Wiki">Class Wiki</a> for <i>Wind from an Enemy Sky</i>
</p>
<p>
Fri March 6 Chap 1-2 (1-25)
</p>
<p>
Mon, March 9 Chap 3-4 (26-39)
<br />
Tues, Mar 10 Chap 5-6 (40-52)
<br />
Wed, Mar 11 Chap 7-8 (53-65)
<br />
Thurs, Mar 12 Chap 9-10 (66-85)
<br />
Fri, Mar 13 Chap 11-12 (86-100)
</p>
<p>
Mon, Mar 16 Chap 13-14 (101-111)
<br />
Tues, Mar 17 Chap 15-16 (112 - 128)
<br />
Wed, Mar 18 Chap 17-18 (129-151)
<br />
Thurs, Mar 19 Chap 19-20 (152-173)
<br />
Fri, Mar 20 Chap 21-22 (174-187)
</p>
<p>
Mon, Mar 23 Chap 23-24 (188-198)
<br />
Tues, Mar 24 Chap 25-26 (199-215)
<br />
Wed, Mar 25 Chap 27-28 (216-226)
<br />
Thurs, Mar 26 Chap 29-30 (227-241)
<br />
Fri, Mar 27 Chap 31-32 (242-258)
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Discussion_Leader.pdf">Discussion Leader Guidelines</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/summarizer.pdf">Summarizer Guidelines</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Passage_Master.pdf">Passage_Master Guidelines</a>
<br />
<a href="http://www.flatheadreservation.org/images/phs/Word_Reporter.pdf">Word_Reporter Guidelines</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Advanced Placement</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/advanced_placement/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2706</id>
      <published>2009-02-26T17:02:00Z</published>
      <updated>2009-02-26T17:05:00Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Advanced Placement"
        scheme="http://www.flatheadreservation.org/index.php/site/category/advanced_placement/"
        label="Advanced Placement" />
      <content type="html"><![CDATA[<p><a href="http://www.flatheadreservation.org/images/phs/Writing_essays.pdf">Overview of AP Essays</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Martin Seligman</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/martin_seligman/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2703</id>
      <published>2009-02-04T17:49:27Z</published>
      <updated>2009-02-04T17:50:27Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Here are his six virtues -
</p>
<p>
   1. Wisdom
<br />
   2. Courage
<br />
   3. Humanity
<br />
   4. Justice
<br />
   5. Temperance
<br />
   6. Transcendence
</p>
<p>
Wisdom
</p>
<p>
    * Curiosity
<br />
    * Love of learning
<br />
    * Judgement
<br />
    * Ingenuity
<br />
    * Emotional intelligence
<br />
    * Perspective
</p>
<p>
Courage
</p>
<p>
    * Valor
<br />
    * Perseverance
<br />
    * Integrity
</p>
<p>
Humanity
</p>
<p>
    * Kindness
<br />
    * Loving
</p>
<p>
Justice
</p>
<p>
    * Citizenship
<br />
    * Fairness
<br />
    * Leadership
</p>
<p>
Temperance
</p>
<p>
    * Self-control
<br />
    * Prudence
<br />
    * Humility
</p>
<p>
Transcendence
</p>
<p>
    * Appreciation of beauty and excellence
<br />
    * Gratitude
<br />
    * Hope
<br />
    * Spirituality
<br />
    * Forgiveness
<br />
    * Humor
<br />
    * Zest
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Montana Time Line</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/montana_time_line/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2702</id>
      <published>2009-02-04T17:35:24Z</published>
      <updated>2009-02-04T17:36:23Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>MONTANA TIME LINE
<br />
1700-1800:&nbsp; Industrialization
<br />
1750     Horses have multiplied northward on the plains and the English Colonies are pushing tribes westward
<br />
1805     Lewis and Clark Expedition begins
<br />
1806     Smallpox has already swept westward by this date
<br />
1807     Lewis and Clark Expedition ends Manuel Lisa&#8217;s Missouri Fur Co. establishes 1st Fort
<br />
(1830-43)  [setting of The Big Sky]
<br />
1832     The largest Rendezvous:&nbsp; Pierre&#8217;s Hole
<br />
1840     Father DeSmet first meets the Flatheads in the Bitteroot
<br />
1841     St. Mary&#8217;s Mission construction begins in Stevensville
<br />
1850     Many of the streams are trapped out          Jesuits leave the Flatheads
<br />
1853     Stevens (RR) survey party leaves Ft. Benton
<br />
1856     Francios &#8220;Benetsee&#8221; Finlay discovers gold at Gold Creek
<br />
1859     Mullan begins construction of his road to Walla Walla
<br />
1860     First steamboat reaches Ft. Benton
<br />
1862     Gold discovered at Bannack
<br />
1863     Mullan road completed
<br />
         Gold discovered in Alder Gulch, Virginia City
<br />
1866     First bank established in Helena
<br />
1867     Height of Fort Benton&#8217;s steamer traffic
<br />
1868     [setting of FOOL&#8217;S CROW]
</p>
<p>
1870     First hunting season established          (agricultural and mining frontiers comingling)          Baker Massacre 1/23/&#8217;70 [FOOL&#8217;S CROW]
<br />
1872-83  Slaughter of the bison
<br />
(1874-90)  [setting of the Virginian]
<br />
1875     Capitol moved from Virginia City to Helena
<br />
(1876-78)  [Garcia&#8217;s TOUGH TRIP THROUGH PARADISE]
<br />
1877     June-October:&nbsp; Nez Perce march for freedom
<br />
1878     Powell reports to Congress:&nbsp; West will not carry settlers
<br />
1879     Cattle industry flourishes
<br />
         U.S. adopts policy to subdue Indians and settle land.&nbsp;         Utah Northern RR reaches Montana Territory
<br />
1880     Butte becomes the biggest boom town in the state          Utah Northern RR reaches Fort Benton
<br />
1881     Marcus Daly founds Anaconda Silver Mining Company
<br />
1883     Starvation winter drives Indians to reservations          [setting of A BRIDE GOES WEST]
<br />
1884     Last bison dies near Miles City [A BRIDE GOES WEST]          Frank Linderman travels west from Ohio
<br />
1885-6   664,00 head of cattle in Montana
<br />
1886     Jesuits return to the Flatheads
<br />
1881    Northern Pacific reaches eastern boarder
<br />
1883   NP and UN RR make junction at Garrison
<br />
1887     &#8220;The Hard Winter&#8221;: 1/2 cattle owners out of business.
<br />
 Great Northern RR reaches Great Falls
<br />
1888     Last freight to arrive by boat unloaded at Ft. Benton
<br />
1889     Montana becomes a state of the Union.
<br />
 Great Northern engineer (re)discovers Marias Pass
<br />
(1890 -1910)  Popular Western novel sales skyrocket
<br />
1893     Ranges are fenced; cattle fed in small herds
<br />
1895     Conrad Kohrs drives major herd of cattle into state.
<br />
 Dairy industry begins--Big Timber
<br />
1900     MT is number one wool grower in the U.S.: 6 mil. sheep.
<br />
 Many species of game becoming extinct
<br />
1901     A.B. Gutherie born
<br />
(1900 -1955)  Anaconda copper industry is a pervasive influence
<br />
1904     D&#8217;Arcy Mc Nickle b. (d. 1977)
<br />
1902     Huntly Project Dam
<br />
1905     Sugar processing begins in Billings
<br />
1909     Enlarged Homestead Act doubles homestead size to  320 acres.
<br />
 Milwaukee RR reaches Garrison
<br />
(1910 -1922)  Honyockers settle 40% of MT
<br />
1915     Oil discovered in Carbon County. 
<br />
 Commercial meat packing begins--Stevensville
<br />
1919     H.G. Marriam begins creative writing school at  University of Montana--Missoula
<br />
(1919 -1922)  20,000 foreclosures due to drought
<br />
(1920 -30&#8217;s)  Government policy to exterminate the wolf
<br />
1921     Merriam founds THE FRONTIER
<br />
1923     Richard Hugo born
<br />
1924     Strip mining begins at Colstrip
<br />
1929     Linderman begins PLENTY COUPS
<br />
 Beginning of Native American Literature Renaissance 1950&#8217;s   Conrad and Cut Bank oil fields open
<br />
1964     Richard Hugo arrives at U of M.
<br />
 Bell Creek oil field discovered. 
<br />
 Tiger Ridge natural gas field discovered
<br />
(1970 -1980)  RARE II study catalogs all remaining roadless areas
<br />
1972     State Constitutional Convention
<br />
1976     Major Facilities Siting Act Passed
<br />
1982     Richard Hugo dies
<br />
1986     Colstrip unit 4 goes on-line
<br />
1988     Timber supplies depleted; sawmills close
<br />
1992     Proposed Baucus/Burns Wilderness Bill opens 5/6   remaining roadless acres to multiple use
<br />
1995     John Trochman and others form the ultra right wing Militia of Montana (MOM)
<br />
1995     300 snow geese die in the toxic waters of the Berkeley Pit in Butte, America&#146;s largest Superfund site
<br />
1996     Unibomber Ted Kazinski arrested in Lincoln
<br />
2000     First woman governor elected: Judy Martz
<br />
2000     Montana Power sells its electrical generation facilities to PPL
<br />
2001     Montana ranked 45th in the nation in per-capita income: $24,033
<br />
2002     West Nile virus spreads half way across the state
<br />
2002     Montana Dept. of Justice busts 122 meth labs at a taxpayer cost of over 1 million dollars
<br />
2003     James Welch dies August 6 at age 62 of lung cancer
<br />
2004     March: Manufacturing jobs drop by 900 as Stimpson Lumber shuts down
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Godly Mountain Man: Like All Fur Trappers of the Early 1800s, Jedediah Smith</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/godly_mountain_man_like_all_fur_trappers_of_the_early_1800s_jedediah_smith/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2700</id>
      <published>2009-02-04T17:20:14Z</published>
      <updated>2009-02-04T17:22:14Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p> <b>Godly Mountain Man: Like All Fur Trappers of the Early 1800s, Jedediah Smith Wore Buckskin and Carried a Rifle. but, Unlike Many Others, He Also Carried a Bible and Exhibited a Deep Love for God.</b>
</p>
<p>
In the early 1800s, it was commonly opined that &#8220;God stayed on his own side of the Missouri River.&#8221; St. Louis was the last outpost of civilization, and west of that area was considered to be a wilderness of heathen savagery. This point was vividly driven home to Jedediah Smith and the other members of his shore trading party as they huddled behind a gruesome breastwork of dead and wounded horses. The Arikara Indian bullets and arrows were pouring down upon their exposed position on the sandbar.
</p>
<p>
Just two years before, in 1821. Jedediah had left his home in Ohio to seek his fortune farther west, heading for St. Louis with what he considered the bare necessities: his clothes, his rifle and his Bible. It was in St. Louis that he saw General William Ashley&#8217;s advertisement for &#8220;enterprising young men,&#8221; an invitation that brought Smith to Ashley&#8217;s doorstep. Ashley must have seen something of Jedediah&#8217;s potential, for he readily signed him up. And so Jedediah joined such famous (and soon-to-be-famous) mountain men as Jim Bridger, Hugh Glass, James Clyman, Thomas Fitzpatrick, William Sublette and Mike Fink.
</p>
<p>
Now, two years later, previously friendly Indians (variously known as the Arikaras, Riccarces, or simply Rees) had turned hostile and were doing their best to annihilate General Ashley&#8217;s men. As the Indians advanced, the fur traders plunged into the Missouri River, desperately swimming for the boats anchored in the middle. Some made it--some did not.
</p>
<p>
According to one account, Jedediah was one of the last to enter the water, covering his comrades with return fire up to the last possible moment. &#8220;&#8216;When his party was in danger, Mr. Smith was always among the foremost to meet it, and the last to fly; those who saw him on shore, at the Riccaree fight, in 1823, can attest to the truth of this assertion.&#8221;
</p>
<p>
In a mere 15 minutes on that fateful May afternoon. Ashley lost one-sixth of his force (15 dead, 9 wounded). The defeat was termed the worst disaster in the history of the Western fur trade. But in that same 15 minutes. Jedediah Smith made the transition from raw recruit to natural leader. When young Jedediah Smith had come to St. Louis in 1822 and signed on as a mountain man with General Ashley&#8217;s fur trading company, he could hardly imagine the dramatic effect his presence was to have on the American West.
</p>
<p>
<b>Out of Obscurity</b>
</p>
<p>
Jedediah was born in 1799, the sixth of 14 children. The family was steadfast in their Methodist beliefs, and Jedediah took his religion to heart. He was also fairly well educated. Dr. Titus Simons, a hometown physician, taught young Jedediah to read and write in English and Latin. Later, two of Jedediah&#8217;s siblings married into the Simons family, and Jedediah remained close to Dr. Simons his entire--but relatively brief--life. He also remained steadfast to his Christian beliefs and always kept his Bible close at hand.
</p>
<p>
And so it was that, after the terrible massacre on the Missouri River, the survivors turned to Jedediah Smith and his Bible, for there was no ordained minister within several hundred miles. According to a letter written by Hugh Glass, Jedediah offered up a powerful prayer to God, &#8220;in whose sternness all were prepared to believe, in whose compassion at this moment they much needed to believe.&#8221; This somber gathering of men is believed to be the first act of Christian public worship in the state of South Dakota.
</p>
<p>
By the fall of 1823, the hostile Arikaras had been driven from their villages on the Missouri, making passage north possible again. Jedediah led a small party of trappers (between 11 and 16) west and north in search of beaver. But horses were scarce, and what few were allotted or loaned to Jedediah were for packing supplies--the men had to walk. The land between Ft. Kiowa and the Black Hills, Jedediah&#8217;s first goal, was parched and unforgiving.
</p>
<p>
On the fourth day, they found the water hole upon which they relied was dry, with another 15 miles to go before they reached the next river. Their guide outdistanced the trappers, and the men trudged on, separating widely in their search for water. One, Jim Clyman, by happy accident found a water hole, and he signaled the others with gunshots. At dark, Jedediah finally reached the site, but two men were missing. When he bad drunk enough to be able to speak, Jedediah reported that the other two men had given up and that he had buried them up to their chins in sand, to conserve their body moisture.
</p>
<p>
As soon as he could stand, he took one of the horses back and brought the men to the water hole. This kind of action typified Jedediah&#8217;s commitment to his men, often putting his own life in peril to save theirs.
</p>
<p>
The favor was returned not long after. As Jedediah and his men traversed a brushy bottom in the Black Hills, a grizzly at tacked the men and packhorses. Jedediah met the bear face to face. Clyman&#8217;s account, though difficult to interpret, described the scene:
</p>

<p>
   [The g]rissly did not hesitate a moment                           
<br />
   but sprang on the capt taking                                     
<br />
   him by the head first pitc[h]ing                                  
<br />
   sprawling on the earth he gave a grab                             
<br />
   by the middle fortunately cat[c]hing                              
<br />
   by the ball pouch and Butcher K[n]ife                             
<br />
   which he broke but breaking several                               
<br />
   of his ribs and cutting his head badly.&nbsp;                          
</p>
<p>
  	None of the men had any surgical experience, yet Jedediah, their beloved captain, was now lying bleeding at their feet. Jedediah was calm despite his wounds. He instructed two men to go for water, and another to find a needle, thread it, and sew up his wounds Clyman was the one chosen to do the &#8220;mending.&#8221; He described Jedediah&#8217;s wounds: 	 
</p>
<p>
   [T]he bear had taken nearly all his                               
<br />
   head in his capcious mouth close to                               
<br />
   his left eye on one side and clos to his                          
<br />
   right ear on the other and laid the                               
<br />
   skull bare to near the crown of the                               
<br />
   head leaving a white streak whare his                             
<br />
   teeth passed one of his ears was torn                             
<br />
   from his head out to the outer rim[.]                             
</p>
<p>
  	Clyman stitched Jedediah up to the best of his ability, but he initially was reluctant to try to reattach the ear. However, Jedediah was adamant that he wanted Clyman to try, so Clyman reports he &#8220;put my needle stiching it through and through and over and over laying the lacerated parts together as nice as I could with my hands.&#8221; Within 10 days, Jedediah had recuperated enough to travel, and the party resumed their trek toward the Rockies, far to the west. After wintering with friendly Crow Indians, Jedediah and his men continued west on their quest for beaver furs. In March, in the teeth of late winter gales that blew the snow already on the ground into recycled blizzards, Jedediah&#8217;s group crossed the Continental Divide, at South Pass. Though Robert Stuart&#8217;s party of 1812-1813 had come east through the South Pass from Astoria, the pass had since been forgotten, and Jedediah was the first white man to use it heading west and to become familiar with it. This discovery would impact generations to follow.
</p>
<p>
<b>Moving up the Ladder</b>
</p>
<p>
Continuing to prove his worth as a trapper and leader, Jedediah was chosen as a partner in Ashley&#8217;s fur company in August 1825, after Major Andrew Henry declined to continue his partnership. When Ashley returned to St. Louis for supplies, Jedediah accompanied him. After hastily restocking, Jedediah set off 26 days later for the Rockies once again, to be in complete charge of the winter and spring beaver hunts. The following summer, Ashley sold out completely to Jedediah, who formed a partnership with William Sublette and David Jackson.
</p>
<p>
Now the senior partner in one of the major fur trading companies in North America (in direct competition with the Hudson Bay Company), Jedediah had come a long way from that young man standing outside Ashley&#8217;s house just four years earlier. It was at this juncture that Jedediah turned his explorer&#8217;s eye from what are now Wyoming, Montana and Idaho to the previously unexplored country south and west of Utah&#8217;s Great Salt Lake. After sending his junior partners off with parties trapping for beaver in the area around Yellowstone, Jackson Hole and other points north, Jedediah and approximately 15 men, along with 700 pounds of dried buffalo meat, set off in mid-August 1826 for points unknown.
</p>
<p>
<b>Across the Burning Sands</b>
</p>
<p>
Although 700 pounds of meat sounds like a lot to start out a journey with, by mid-September, Jedediah found himself in the middle of the inhospitable Great Basin, out of meat, and beginning to lose horses from starvation--there was no grass for them to eat, and precious little water. Paiute Indians provided a small amount of corn and pumpkins, but the Americans found it hard going, continuing south to the Colorado River, which they reached at the beginning of October.
</p>
<p>
Following the Colorado toward the Mojave Desert, Jedediah lost over half of his horses, and all the men were afoot. Regarding that country, Jedediah said it was &#8220;remarkably barren, rocky, and mountainous,&#8221; leaving the surviving horses and the men &#8220;worn out with fatigue and hardships and emaciated with hunger.&#8221; In return for his efforts, though, Jedediah could take pride that he was the first white man to complete the journey across the searing Great Basin, reaching California.
</p>
<p>
The Mojave Indians were friendly in 1826, providing Jedediah and his men with food and fresh horses. Because he could not possibly attempt to return across the desert with his meager supplies and livestock, Jedediah decided to take refuge at the California mission in the San Bernardino Valley, then travel up the Pacific Coast.
</p>
<p>
But the Spanish governor was suspicious of Jedediah&#8217;s purpose in arriving in California--was he possibly a spy? Jedediah did his best to convince him he was merely a hunter (the locals didn&#8217;t even have a word for beaver--the best they could do was &#8220;fish"). Eventually, in January 1827, he received permission to leave the mission and was ordered out of California, never to return.
</p>
<p>
The arm of the local government wasn&#8217;t long enough, though. After re-crossing the San Bernardino Mountains, Jedediah turned north up through Tehachapi Mountains, into the San Joaquin Valley, where he had heard beaver were plentiful. Indeed, by April, Jedediah&#8217;s horses were packing over 1,500 pounds of beaver pelts, and it was time to figure out how to get them back to the rendezvous near the Great Salt Lake. He began looking for a way to cross the imposing Sierra Nevadas that loomed to his east.
</p>
<p>
The Sierras proved the greatest hurdle that Jedediah had faced yet. Even though it was May, the snow proved too deep. Five horses starved to death before Jedediah turned back to the valley floor. Three weeks later, after leaving his clerk, Harrison G. Rogers, in charge of the majority of the men, horses and valuable furs, Jedediah and two companions, with seven horses and two mules, again turned their faces to the stark Sierras. Eight days, two horses and one mule later, Jedediah descended again into the Great Basin.
</p>
<p>
As on the trip to California, the Great Basin proved hard on the horses and the men. There was scant game, grass or water. The dead horses Jedediah put to good use, drying the meat and using the remaining three horses to pack it. The occasional black tailed hare proved a welcome relief from the steady horsemeat diet. As they crossed the Salt Desert that June, the days crawled by but no water was seen.
</p>
<p>
The heat was incredible, and Jedediah and his companions were obliged to bury themselves in the sand &#8220;in the shade of a small Cedar&#8221; to cool their overheated bodies. Once the sun went down, they continued on into the night. Jedediah wrote in his journal, &#8220;It seemed possible and even probable we might perish in the desert unheard of and unpitied ... the murmur of falling waters still sounding in our ears and the apprehension that we might never live to hear that sound.&#8221;
</p>
<p>
Jedediah was grieved to be forced to leave behind one of his two men, &#8220;being able to proceed no further.&#8221; His journal records, &#8220;We could do no good by remaining to die with him and we were not able to help him along but we left him with feelings only known to those who have been in the same situation and with the hope that we might get relief and return in time to save his life.&#8221; Indeed, three miles later, they found water, and were able to return and bring the man up to the spring.
</p>
<p>
Several days later, they and their two remaining horses reached the southern shore of Great Salt Lake. By July 3, they reached their rendezvous point, where, according to Jedediah&#8217;s journal, &#8220;my arrival caused a considerable bustle in camp, for myself and party had been given up as lost.&#8221; They had been gone a year, and had made an incredible journey. They brought no beaver skins back, but they had acquired information about Indian tribes, rivers, and geography that no white man possessed.
</p>
<p>
<b>Into the Desert Again</b>
</p>
<p>
Not 10 days after coming out of the desert, Jedediah and 18 men, outfitted with supplies for two years, turned their faces again to the southwest and the intimidating desert passage. His plan was to rejoin his men in California, then trap his way up the Pacific Coast to Fort Vancouver (now Vancouver, Washington). Having learned a lesson from his first battle with the &#8220;Sand Plain,&#8221; Jedediah avoided crossing the desert directly, choosing instead to go around it, then head for the Colorado.
</p>
<p>
Most of the trip went without incident, until he reached the Mojave settlements. Unlike last year, when they had been friendly, the Mojaves were now stirred up due to some violent clashes with American trappers out of New Mexico. They waited until Jedediah had rafted some of his men out on to the Colorado, then fell with rabid war cries on the 10 men (and two women) and horses left on the bank.
</p>
<p>
Jedediah and the other eight survivors were now stranded on a sandbar in the middle of the Colorado, with hundreds of angry Mojaves ranged along the banks. They had only two knives and five guns, and 15 pounds of dried meat. No horses, no supplies. He and his men took small packs, and started off, leaving some material behind to distract the Indians (hoping they would fight over the plunder and give Jedediah and his men more time to escape). The plan worked for a while, but soon the Mojaves gave chase, and Jedediah&#8217;s party took refuge in a small grove of trees. After two Indians fell to the excellent marksmanship of the mountain men, the Mojaves ran off.
</p>
<p>
The imminent threat of death by Indians was now past, but Jedediah and his men were destitute. With no horses, no food, and no supplies, he could not hope to attempt the journey north to the Columbia River. He had no choice but to throw himself on the mercy of the San Jose mission, and hope for the best.
</p>
<p>
When he arrived at the mission in late September 1827, the local officials were not pleased to see him again, and did not treat Jedediah as courteously as in 1826. In fact, they detained Jedediah and his eight companions until December 30, whereupon Jedediah was free to return &#8220;again to the woods, the river, the prairae, the Camp &amp; the Game with a feeling somewhat like that of a prisoner escaped from his dungeon and his chains.&#8221;
</p>
<p>
Rogers and the other men Jedediah had left behind the previous year had been brought into San Jose by the Spanish authorities. After they left San Jose, they began trapping the rivers north, forcing their way through deep sloughs, endless mud, deep fog, and incessant rain. Most days, they could only proceed three to six miles, and the exhausted horses were difficult to drive through the thick brush and steep terrain.
</p>
<p>
North past the Klamath River, over to the coast up to present-day Crescent City, then across the Rogue River, they made their tortuous way. They made a fateful stop at the Umpqua River, where the Umpqua Indians massacred all but three of Jedediah&#8217;s men. Jedediah and the survivors crossed the remaining 100 miles to Fort Vancouver, arriving on about August 10, 1828.
</p>
<p>
After wintering with the Hudson Bay Company, Jedediah and his remaining men returned in March 1829 to where Jackson was trapping, in the Flathead region. During the following winter, Jedediah finally had time to write his family and friends. Through these letters we are allowed glimpses of the deep vein of spirituality and faith that ran through Jedediah&#8217;s life.
</p>
<p>
&#8220;As to my Spiritual welfare, I hardly durst Speak I find myself one of the most ungrateful, unthankful, Creatures imaginable,&#8221; wrote Jedediah to his brother Ralph. &#8220;Oh when Shall I be under the care of a Christian Church? I have need of your Prayers, I wish our Society to bear me up before a Throne of Grace.&#8221; In the same letter, he enclosed the sum of $2,200, to be given to either his parents, Dr. Simon, or a friend in need, saying:
</p>

<p>
   Oh My Brother let us render to him to                             
<br />
   whoom all things belong, a proper                                 
<br />
   proportion of what is his due. I must                             
<br />
   tell you, for my part, that I am much                             
<br />
   behind hand, oh! the perverseness of                              
<br />
   my wicked heart! I entangle myself                                
<br />
   altogether too much in the things of                              
<br />
   time--I must depend entirely upon                                 
<br />
   the Mercy of that being, who is abundant                          
<br />
   in Goodness &amp; will not cast off                                   
<br />
   any, who call, Sincerely, upon him;                               
<br />
   again I say, pray for me My Brother                               
<br />
   --&amp; may he, before whoom not a                                    
<br />
   Sparrow falls, without notice, bring                              
<br />
   us, in his own good time, Together                                
<br />
   again.&nbsp;                                                           
</p>
<p>
  	Judging from his letters, Jedediah would certainly be troubled by the elderly, lonely people moldering away in our nursing homes: &#8220;[L]et it be the greatest pleasure that we can enjoy, the height of our ambition, now, when our Parents, are in the decline of Life, to smooth the Pillow of their age, &amp; as much as in us lies, take from them all cause of Trouble.&#8221; Two years later, just before leaving for his last and fatal exploratory trip, Jedediah returned to the theme of filial piety in another letter to his brother Ralph: 	 
</p>
<p>
   Let us endeavor to ease &amp; comfort                                 
<br />
   them, to pour on Oil &amp; balm into the                              
<br />
   wounds, made by the relentless hand                               
<br />
   of Time, the pleasing thought cheeres                             
<br />
   me to Shed Tears of Joy--how long                                 
<br />
   will it be ere you and I will be under                            
<br />
   the necessity of reme[m]bering (if we                             
<br />
   are allowed the privilege of living)                              
<br />
   that we were once Young? and let us                               
<br />
   now set a pattern to our younger                                  
<br />
   Brothers &amp; children.&nbsp;                                             
</p>
<p>
  	Jedediah always carried his Bible with him, notwithstanding towering mountains, raging rivers and fierce Indian battles. It also appears that he shared his faith with at least a portion of the friendly Indians he met. For example, in 1831, four Indians came to St. Louis from the far northwest, searching for the &#8220;white man&#8217;s Book of Heaven.&#8221; A year later, a Christian Indian wrote G.P. Disoway, a Methodist merchant in New York City, telling of the delegation to St. Louis. Disoway then wrote a letter to the Christian Advocate (a Methodist paper), which was published on March 1, 1833, along with an appeal for missionaries to go out to the Oregon Country to answer the call of the Indians for Christian instruction.
</p>
<p>
In 1834, a missionary named Jason Lee reached the Oregon Territory with several associates, and was followed in 1836 by Marcus Whitman and Henry Spalding. Whitman settled in the Willamette Valley, while Spalding served among the Nez Perce. Not long after, Washington, Oregon and Idaho became American territory.
</p>
<p>
It is not clear where the four Indians who journeyed to St. Louis first heard of the Bible; but there were few white men in what became Idaho in the late 1820s, and fewer still who put as much stock in the &#8220;Book of Heaven&#8221; as Jedediah Smith did.
</p>
<p>
<b>Final Journey and Jedediah&#8217;s Legacy</b>
</p>
<p>
Jedediah returned to St. Louis in the fall of 1830. Having explored more territory than most men then living with the exception of Lewis and Clark, one might think he would settle down. But the call of the wilderness was too great, and the spring of 1831 saw Jedediah setting off for Santa Fe on a trading venture. As he stated in his journals, &#8220;I wanted to be the first to view a country on which the eyes of a white man had never gazed and to follow the course of rivers that run through a new land.&#8221; But this was to be his last trip, his last chance to risk his life for those of his men.
</p>
<p>
More than halfway to Santa Fe, near the Cimarron River, Jedediah&#8217;s party ran out of water, and Jedediah went on alone to try and find it. A party of Comanche Indians descended upon him at the water hole, spooked his horse, and shot him in the back. His rifle and pistols were later recovered from the Indians by Spanish traders, but his body was never found.
</p>
<p>
In less than 10 years on the frontier, Jedediah was the first American to do many things: the first to travel west through South Pass, the first to reach California overland, the first to cross the Nevada-Utah desert, the first to cross the Sierras and the first to traverse the West Coast by land from San Diego to the Columbia. But it is the reverberations that resulted from Jedediah&#8217;s &#8220;firsts&#8221; that changed the history of the settling of the West.
</p>
<p>
By proving one could reach California overland, and bring horses back, Jedediah opened the gates for the continental trade in supplies and horses that was lucrative for years to come. By taking wagonloads of supplies to South Pass to outfit his fur trappers, Jedediah proved that not only mountain men, but traders, missionaries, and families, could travel to the Rockies and beyond. And by sharing his faith with white and red men alike, he laid the foundations for future missionary work among the northwestern Indians.
</p>
<p>
According to Dale Morgan, the definitive biographer of Jedediah, he &#8220;was an unlikely sort of hero for the brawling West of his time.&#8221; Not only was he &#8220;modest and unassuming,&#8221; but he &#8220;never smoked or chewed tobacco, never uttered a profane word, and partook of wine or brandy only sparingly on formal occasions.&#8221; He was &#8220;old Jed&#8221; to friends and &#8220;Mr. Smith&#8221; to business associates--a man who inspired both friendship and respect.
</p>
<p>
As an anonymous eulogy, printed in the Illinois Monthly Magazine. June 1832, stated, &#8220;&#8230; he was modest, never obtrusive, charitable, &#8216;without guile&#8217; ... a man whom none could approach without respect, or know without esteem. And though he fell under the spears of the savages, and his body has glutted the prairie wolf, and none can tell where his bones are bleaching, he must not be forgotten.&#8221;
</p>
<p>
	
<br />
Questia Media America, Inc. <a href="http://www.questia.com">http://www.questia.com</a>
</p>
<p>
Publication Information: Article Title: Godly Mountain Man: Like All Fur Trappers of the Early 1800s, Jedediah Smith Wore Buckskin and Carried a Rifle. but, Unlike Many Others, He Also Carried a Bible and Exhibited a Deep Love for God. Contributors: Jodie Gilmore - author. Magazine Title: The New American. Volume: 20. Issue: 17. Publication Date: August 23, 2004. Page Number: 34+. COPYRIGHT 2004 American Opinion Publishing, Inc.; COPYRIGHT 2004 Gale Group 
</p>]]></content>
    </entry>

    <entry>
      <title>The Big Sky</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/the_big_sky/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2699</id>
      <published>2009-02-04T16:55:24Z</published>
      <updated>2009-02-04T16:56:24Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>The &#8220;Mountain Man&#8221; is a temptingly heroic figure. Historically he lived in freedom and danger and under a requirement of absolute self-reliance that altogether shrink the cowboy&#8217;s much written-about wage-earner&#8217;s life. About half of the mountain men (beaver trappers, in prose) met violent ends in the wilderness; some were writers and even sort-of philosophers. Their day was short, roughly 1822 to 1845 or so, though a few held on for more years of solo adventure. With the beaver trapped out, they became guides for safari hunters and wagon trains; a few became prospectors; or they went back east and took up a farm. Their course is somehow very American, spanning the nineteenth century. and there is no missing the resonance in Guthrie&#8217;s name for his protagonist: Boone. The temptation in the mountain man story is to glory in the bright romance of life in the wilderness, to the exclusion of the shadows and contradictions that are in real life and that are gone into in great fiction. So careful a novelist as Vardis Fisher, as recently as his Mountain Man ( New York, 1965), made his tide character a non-credible romance hero. A. B. Guthrie Jr. ( 1901- 1991), a Montanan who&#8217;d had years of Kentucky newspaper work and a Neiman Fellowship to Harvard under his belt, refused the easy road. He had a theme, he wrote later. Each man kills the thing he loves. Here we see his character Boone Caudill at a crucial, character-revealing time of decision. 
</p>
<p>
Publication Information: Book Title: The Literary West: An Anthology of Western American Literature. Contributors: Thomas J. Lyon - editor. Publisher: Oxford University Press. Place of Publication: New York. Publication Year: 1999. Page Number: 163.
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Montana Literature</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/montana_literature/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2698</id>
      <published>2009-02-02T01:11:29Z</published>
      <updated>2009-02-02T01:20:30Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://moodle.polson.k12.mt.us">http://moodle.polson.k12.mt.us</a>
</p>
<p>
Use the link above. The first time you visit the site, you will need to register. 
</p>
<p>
Use the same user name and password you use to log onto the web at school.
</p>
<p>
Once you are registered, you can log on. When you are logged on, follow the Montana Literature link to get to the class website.
</p>
<p>
This website will provide information about the class. It is also where you will take most tests and quizzes. You can use the communications link to send messages to other people in the class or to me.
</p>]]></content>
    </entry>

    <entry>
      <title>Mark Twain&#8217;s America</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/mark_twains_america/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2697</id>
      <published>2009-01-27T22:01:38Z</published>
      <updated>2009-01-28T22:02:38Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>1. Mark Twain was &#8220;the most American of writers.&#8221; What does that mean?
<br />
2. Where was Hannibal, Missouri, located? What sort of town was it? (A frontier river town).
<br />
3. Where does Sam Clemens go when he leaves Hannibal? (St. Louis)
<br />
4. What work does he find there? (working for a printer)
<br />
5. What was the Mississippi River like during the 1850s? (Exciting, full of action, the major route of commerce connecting the interior of America with New Orleans)
<br />
6. Who are the most &#8220;unfettered and independent&#8221; of all people according to Twain? (river boat pilots)
<br />
7. Between what two cities does Twain travel as a river boat pilot? (St.Louis and New Orleans)
<br />
8. What were steamboats like for travelers? (unutterable pomp and luxury)
<br />
9. What ends Twain&#8217;s steamboat career? (The Civil War)
<br />
10. How long did Twain participate in the Civil War and what did he specialize in? (two weeks, retreat)
<br />
11. What was the name of the gold vein in Nevada where Mark Twain worked? (Comstock Lode)
<br />
12. Where does Twain go when he leaves the gold mines in Nevada? (San Francisco)
<br />
13. Twain became successful with <i>Innocents Abroad</i>:the  world&#8217;s most amusing travel book made Twain&#8217;s career.
<br />
14. Characterize Twain&#8217;s marriage (he loved his wife, Livy-the light of my wife-"Mama loves morals and Papa loves cats&#8221;
<br />
15. What did Twain call the age of properity and technological progress at the end of the 19th Century (He coined the term &#8220;gilded age")
<br />
16. What was the attitude toward bicycles? (30% of all fallen women were former bicycle riders)
<br />
17. Posing for photographs becomes a new fad.
<br />
Child labor and sweat shops--
<br />
19. Twain was proud of knowing Thomas Edison, raging tearing booming 19th Century--"People don&#8217;t dream, they work&#8221;
<br />
20. What national political figure did Twain save from poverty (US Grant--Twain published his memoir)
<br />
21. 1893 Worlds Fair in Chicago--A forward looking, progressive era--it was an era of financial trouble and Twain&#8217;s publishing business was failing
<br />
22. The time around T Roosevelt Imperial aggression and commercial frenzy appalled Twain
</p>]]></content>
    </entry>

    <entry>
      <title>Huck Finn Reading Schedule</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huck_finn_reading_schedule1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2696</id>
      <published>2009-01-23T16:03:10Z</published>
      <updated>2009-01-23T16:04:06Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Tues, Jan 27 Chapters 1-2-3 - Pages 13-26
<br />
Wed, Jan 28 Chapters 4-5-6-7 - Pages 27-45
<br />
Thurs, Jan 29 Chapters 8-9-10 - Pages 47-63
<br />
Fri, Jan 30 Chapters 11-12-13 - Pages 65-81
</p>
<p>
Mon, Feb 2 Chapters 14-15-16 - Pages 83-99
<br />
<b>TEST: Chapters 1-16</b>
<br />
Tues, Feb 3 Chapters 17-18 - Pages 101-117
<br />
Wed, Feb 4 Chapters 19-20-21 - Pages 119-142
<br />
Thurs, Feb 5 Chapters 22-23-24-25 - Pages 143-166
<br />
Friday, Feb 6 Chapters 26-27-28-29 - Pages 167-196
</p>
<p>
Mon, Feb 9 Chapters 30-31-32 - Pages 197-213
<br />
<b>TEST, Chapters 17 - 32</b>
<br />
Tues, Feb 10 Chapters 33-34-35-36 - Pages 215-237
<br />
Wed, Feb 11 Chapters 37-38-39-40 - Pages 239-261 
<br />
Thurs, Feb 12 Chapters 41-42-43 - Pages 263-276
<br />
<b>Friday, Feb 13 TEST, chapters 33-43</b>
</p>]]></content>
    </entry>

    <entry>
      <title>Hucklberry Finn Reading Schedule</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/hucklberry_finn_reading_schedule/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2320</id>
      <published>2009-01-14T20:41:13Z</published>
      <updated>2008-03-06T17:12:25Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p><b>Huckleberry Finn Reading Schedule</b>
</p>
<p>
February 25   (Point of View) Homework: Chapters 1-2-3 - Pages 1-14
</p>
<p>
February 26  (Huck&#8217;s initial attitudes, dispositions, and aspirations&#8212;contrast with Tom&#8217;s Romanticism) Homework: Chapters 4-5-6-7 - Pages 15-36
</p>
<p>
February 27  (Irony) Homework: Chapters 8-9-10 - Pages 36-55
</p>
<p>
February 28 (Jim; Conscience) Homework: Chapters 11-12-13 - Pages 55-75 
</p>
<p>
February 29 (Morality-Kohlberg; Rationalizations) Homework: Chapters 14-15-16 - Pages 76-95
</p>
<p>
<b>March 3: TEST </b>Pages 1-95 Homework: Chapters 17-18 - Pages 95-116
</p>
<p>
Apology to Jim; Doing the Right Thing)
</p>
<p>
March 4 Homework: Chapters 19-20-21 - Pages 117-145 
</p>
<p>
March 6 Homework: Chapters 22-23-24-25 - Pages 145-170
</p>
<p>
March 10 Homework: Chapters 26-27-28-29 - Pages 171-205
</p>
<p>
<b>March 10 TEST </b>pages 117-205 Homework: Chapters 30-31-32 - Pages 205-224
</p>
<p>
March 12 Homework: Chapters 33-34-35-36 - Pages 224-250
</p>
<p>
March 13 Homework: Chapters 37-38-39-40 - Pages 251-276 
</p>
<p>
March 14 Homework: Chapters 41-42-43 - Pages 277-294
</p>
<p>
<b>MARCH 17: TEST </b>Entire Book
</p>]]></content>
    </entry>

    <entry>
      <title>Huck Finn Handout: Irony</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huck_finn_handout/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2340</id>
      <published>2009-01-14T20:41:13Z</published>
      <updated>2008-02-26T22:28:55Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>What is irony? Webster&#8217;s Dictionary offers two definitions: 
</p>
<blockquote><p>1. The use of words to express the opposite of what one really means. 
<br />
2. Incongruity between the actual result of a sequence of events and the expected result. </p></blockquote>
<p>
The first definition we sometimes think of as sarcasm (although not all irony is sarcastic); the second definition is how we often use the word colloquially, or in everyday life. In literature, however, irony has a special meaning, closer to the first definition than the second. 
</p>
<p>
When an author wants to distinguish her ideas from that of her characters, she will use dramatic irony. According to the Oxford Dictionary of Literary Terms, dramatic irony occurs when &#8220;an audience knows more about a character&#8217;s situation than a character does, foreseeing an outcome contrary to the character&#8217;s expectations, and thus assigning a sharply different sense to some of the character&#8217;s own statements.&#8221; Such a character is sometimes called an unreliable or naive narrator. Dramatic irony is often used in satire, a genre of writing that makes fun of or mocks individuals, institutions, and society. Huck Finn, as you know, is definitely a satire. 
</p>
<p>
Just as we can&#8217;t always tell if someone is being sarcastic, we can&#8217;t always tell if an author is being ironic. But just as with our friends, family, and teachers, the more we know about an author, the easier it becomes to tell when she is being ironic or not. Although it may sometimes seem like authors are being needlessly confusing when they use irony, they actually mean for us as readers to feel smarter; after all, we know more about the characters in the book than the characters themselves. 
</p>
<p>
Irony abounds in Huck Finn. Indeed, English professor and Mark Twain scholar Shelly Fisher Fishkin argues that Twain&#8217;s use of irony is the key to understanding the novel: 
</p>
<blockquote><p>It is impossible to read Huck Finn intelligently without understanding that Mark Twain&#8217;s consciousness and awareness is larger than that of any of the characters in the novel, including Huck. Indeed, part of what makes the book so effective is the fact that Huck is too innocent and ignorant to understand what&#8217;s wrong with his society and what&#8217;s right about his own transgressive behavior. Twain, on the other hand, knows the score. </p></blockquote>]]></content>
    </entry>

    <entry>
      <title>Huck Finn Handout: Conformity</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huck_finn_handout_conformity/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2343</id>
      <published>2009-01-14T20:41:13Z</published>
      <updated>2008-02-21T17:02:27Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>Conformity 1: When the widow and Miss Watson try to civilize Huck by teaching him about the Bible, clothing him, teaching him how to read and write, and telling him not to smoke, he goes along with it. Instead of putting up a fight, he conforms to what they want and expect.
</p>
<p>
Conformity 2: Huck continues to go to school, even though he doesn&#8217;t want to. He has started to get used to the new ways, even though he may like the old ways better.
</p>
<p>
Conformity 3: When Huck is kidnapped by Pap, he takes him to a remote place in the woods. There, Huck can be his old self. Even though he is somewhat civilized now, he fits back into his former lifestyle easily. He adapts very well to new situations.
</p>
<p>
Conformity 4: Huck just met the Grangerfords, but fits right in immediately.
</p>
<p>
Conformity 5: The Duke tells Huck and Jim that he is really the Duke of Bridgewater, and he expects to be treated like a Duke. Huck immediately conforms to this idea, despite the fact that he doesn&#8217;t know if they are telling the truth or not.
</p>
<p>
Conformity 6: The King tells Huck and Jim that he is the King of France, and expects to be treated like a King. Once again, Huck conforms, and treats him like a King, no questions asked.
</p>
<p>
Conformity 7: Huck knows that the King and the Duke are liars, and that they aren&#8217;t really Kings and Dukes. Despite this, he continues to conform to their demands and act like their servant.
</p>
<p>
Conformity 8: When Huck finds out that Mr. and Mrs. Phelps think he is Tom Sawyer, he decides that he is really going to have to act like him. He has no problem doing this, and even likes it at times.
</p>
<p>
Conformity 9: Instead of standing up for himself against Tom, Huck conforms to all of his ideas about how they are to rescue Jim. He agrees with Tom instantly because he thinks Tom&#8217;s ideas have a lot of style, even though his own ideas are much more realistic.
<br />
	
</p>]]></content>
    </entry>

    <entry>
      <title>Huck Finn Handout: Romanticism and Realism</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huck_finn_handout_romanticism/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2344</id>
      <published>2009-01-14T20:41:13Z</published>
      <updated>2008-02-21T22:03:44Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Realism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Realism/"
        label="Realism" />
      <content type="html"><![CDATA[<p>William F. Byrne:
</p>
<blockquote><p>The contrast between the characters of Tom Sawyer and Huck Finn is used by Twain to illustrate the romantic imagination. Tom has led a quintessential middle-class American existence. He attends school and church, is comfortable materially, and has an unexciting but stable, and certainly bearable, home life with his Aunt Polly. In contrast, Huck&#8217;s life, though sometimes viewed as happy-go-lucky, has been by objective standards a nightmare. He has been raised in complete poverty by a worthless and shiftless father who is rarely present and often drunk, who sometimes treats Huck cruelly and has failed to have him educated, and who demonstrates a wide range of bad personality traits. . . One notable characteristic of Huck is that he seems to remain outside society, looking in. Another characteristic is his curious lack of a boyish imagination. It is as if the harsh realities of his life have forced Huck to grow up fast, and to focus exclusively on the practical concerns of the world immediately around him. Forced by necessity to live by his wits, Huck is constantly striving to work with the actual circumstances at hand. . .Huck cannot suspend disbelief even for boyish play; he does not fantasize. In contrast, Tom is spectacularly imaginative in the boyish, romantic sense. He has learned some history, geography, and religion, and, we are reminded again and again, he has filled his head with romantic adventure novels. This material has shaped Tom&#8217;s worldview and feeds his fantasies, which he is constantly trying to act out.</p></blockquote>

<p>
In the opening chapters, there is one boy in the gang who Tom cannot seem to make understand why pretend adventures are practical. He and Huck, the classic standoff between Romanticism and Realism, cannot see the world through the same perspective. Tom wants to do things they way they were done in the books. He references Stevenson&#8217;s Treasure Island and Dumas&#8217; Monte Cristo as roadmaps of how to do things. Huckleberry doesn&#8217;t understand why they would charge a Sunday school picnic in search of rare treasures.
</p>
<p>
If Huck is the consummate realist of the novel, Tom Sawyer is the representative romantic. When readers are first introduced to Tom, they immediately recognize his role as a leader, or controlling agent, of the situation. The gang is labeled Tom Sawyer&#8217;s Gang because he is the one that controls the activities and pursuits. These activities, however, are always based upon Tom&#8217;s exaggerated notions of adventure. Basing his experience on the fanciful books he has read, Tom tries to adapt his life and the life of others to that which he has read. The end result is a burlesque of sensibility and emotion, two literary agents that Twain despised.
</p>
<p>
Toms role as a romantic is extremely important because of its juxtaposition with Huck&#8217;s literal approach. Although Tom declares that his gang will pursue the exploits of piracy and murder, in reality the gang succeeds in charging down on hog-drovers and women in carts taking garden stuff to the market. The vision of the young boys disrupting women bound for the market provides much of the harmless humor during the early pages of Huck Finn, and Tom is largely responsible for the slapstick approach. Tom&#8217;s constant barrage of exaggeration, however, contrasts with Huck&#8217;s deadpan narration, and Huck can see no profit in Toms methods. Where Huck is practical, Tom is emotional; where Huck is logical, Tom is extravagant. Despite the fact that readers easily recognize Tom&#8217;s ideas as folly, Huck does not question Tom&#8217;s authority. On the contrary, Huck believes that Tom&#8217;s knowledge is above his own, and this includes Tom&#8217;s attitude toward slavery.
</p>
<p>
In a sense, Tom represents the civilized society that Huck and Jim leave behind on their flight down the river. When Tom reappears with his fancy notions of escape from the Phelps farm, Jim again becomes a gullible slave and Huck becomes a simple agent to Tom. There is no doubt that Tom is intelligent, and he does state that they will free Jim immediately if there is trouble, but the ensuing ruse suggests that Tom is unable to shake society and the Romantic idealism he possesses, even when Jim&#8217;s freedom is at stake.
</p>
<p>
Another reference to Romanticism comes when they approach the wreckage of the Sir Walter Scott that has been slammed against a rock...surely this is a metaphorical depiction of Twain&#8217;s perspective of Scott&#8217;s poetry and the lack of practicality thereof.
<br />
In many ways, Twain blamed Romantic Literature for stunting the moral progression after the Civil War. 
<br />

</p>]]></content>
    </entry>

    <entry>
      <title>Huck Finn Handout: Freedom</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/huck_finn_handout_freedom/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2345</id>
      <published>2009-01-14T20:41:13Z</published>
      <updated>2008-02-21T21:21:07Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>. . .does Huckleberry Finn deserve its celebration as a testimony to freedom? What exact place, in fact, does freedom have among the book&#8217;s themes? . . . a firm grip upon the complete and total text is necessary to understand the form freedom takes in the book.
</p>
<p>
. . .In the broadest sense, the theme of freedom begins to engage us at the outset: Huck feels cramped and confined in his new condition as ward of Widow Douglas and closet neophyte of Miss Watson. The early episodes with Tom Sawyer add a complicating paradox: to enjoy the freedom of being &#8220;bad"--joining Tom&#8217;s gang--Huck must submit himself to his adopted household and appear &#8220;respectable.&#8221; With Pap&#8217;s arrival the paradox is reversed; now he can enjoy his former freedom to lounge and choose his time, but the expense is a confinement even more threatening, a virtual imprisonment. The only release is, escape, flight, and effacement of the  identity through which both town and Pap oppress him; he can resume autonomy only by assuming &#8220;death&#8221; for his name.
</p>
<p>
In brief and general terms, such is the inner logic of the theme of freedom as we arrive at the Jackson Island episode. With Jim&#8217;s appearance as a runaway slave a new and decisive development begins. We now have two runaways, and their conjunction generates the rest of the narrative,&#8217; deepens the theme, and forces nuances to the surface. Jim&#8217;s situation is both simpler and more urgent than Huck&#8217;s. His freedom is no more or less than escape, from bondage, escape to free territory. He expects there to assume what is denied him in slave society, his identity as an adult man, husband, and father. The fact that the reader is made to share this expectation with Jim, that the novel does not allow us to anticipate a reversal of hope if Jim reaches free territory, is important; as readers we are freed of normal historical ambiguities in order to accept as a powerful given the possibility of fulfilled freedom for Jim. Thus by confining the action to the area of slave society, Mark Twain compels us (at the expense of historical accuracy, perhaps) to imagine the boundary between &#8220;slave&#8221; and &#8220;free&#8221; as real and unequivocal, and to accept that boundary as the definition of Jim&#8217;s plight: on the one side, enslaved; on the other, free.
</p>
<p>
Jim presents himself, then, unencumbered by the paradoxes of Huck&#8217;s problem: to be free, to possess himself, to reveal a firm identity--these will be equal consequences of the single act of crossing the border. The effect of such a simplifying and unambiguous presence in the book is, first, to bring into relief the more subtle forms of denial of freedom, forms which cannot be overcome by simple geographical relocation, and second, to force Huck, once the boy commits himself to the slave, into a personal contradiction. Jim can say, as soon as he escapes from Miss Watson, &#8220;I owns myself,&#8221; while Huck is still &#8220;owned&#8221; by the official values supervised by his &#8220;conscience.&#8221; Once Jim&#8217;s freedom becomes Huck&#8217;s problem, the boy finds himself at odds with what Mark Twain called his &#8220; deformed conscience.&#8221; Huck&#8217;s &#8220;sound heart&#8221; may respond to Jim&#8217;s desire to recover his humanity at the border, but his. conscience wants to repress that response.
</p>
<p>
In light of this conflict, implicit in Huck&#8217;s words at the end of Chapter 11, &#8220;They&#8217;re after us!&#8221; what would constitute: freedom for Huck? Clearly, getting Jim to the free states would not be enough. He would need to free himself of moral deformity before he too can say &#8220;I owns myself.&#8221; Just as clearly neither issue is resolved in the novel. And the book&#8217;s indecision is reflected in the criticism. The controversies regarding the &#8220;Evasion&#8221; at the Phelps farm need not be reviewed here, but it is useful to point out that the question of the ending eventually becomes a question of form, of judgment about the book&#8217;s unity of tone and intention. Those who wish for Jim&#8217;s release through a heroic act by Huck tend to feel the ending flawed, and those who wish for Huck&#8217;s escape from all consciences, including a &#8220;good&#8221; abolitionist conscience, tend to accept the ending. . .
</p>
<p>
<i>The Critical Response to Mark Twain&#8217;s Huckleberry Finn</i>. Contributors: Laurie Champion - editor. Greenwood Press: Westport, CT. 1991.&nbsp;
</p>]]></content>
    </entry>

    <entry>
      <title>Embedding quotations in a paragraph</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/embedding_quotations_in_a_paragraph/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2617</id>
      <published>2009-01-13T16:25:34Z</published>
      <updated>2009-01-13T16:25:33Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><iframe src='http://docs.google.com/EmbedSlideshow?docid=ah7qj2nng4x9_53gwv862' frameborder='0' width='410' height='342'></iframe>
</p>
<p>
<a href="http://docs.google.com/Presentation?docid=ah7qj2nng4x9_53gwv862&amp;hl=en#" title="Online">Online</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Quotations-incorporating.pdf">Handout: How to incorporate quotations (PDF)</a>
<br />
<a href="http://www.flatheadreservation.org/index.php/phs/printer/incorporating_quotations_into_a_paragraph/">Example: How to incorporate a quote into a paragraph</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Steps-quotation-paragraph.pdf">Steps to getting an A on this paragraph</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Incorporating quotations into a paragraph</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/incorporating_quotations_into_a_paragraph/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.713</id>
      <published>2009-01-13T16:24:08Z</published>
      <updated>2009-01-13T16:25:08Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Grammar and Usage Guides"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Grammar and Usage Guides/"
        label="Grammar and Usage Guides" />
      <content type="html"><![CDATA[<p>Quote a short passage of that states the point you are agreeing or disagreeing with.
</p>
<p>
Your paragraph should follow this format:
</p>
<p>
<b>[Sentence 1: topic sentence]</b> Thoreau praises living close to nature, but he doesn&#8217;t go far as to camp out in nature. <b>[Sentence 2: Lead-in to the quote] </b>He writes about building his house, and the fact that it protected him from the elements.<b> [Sentence 3: A sentence that includes the quote]</b> &#8220;I began to occupy my house on the 4th of July,&#8221; he says, &#8220;as soon as it was boarded and roofed, for the boards were carefully feather-edged and lapped, so that it was perfectly impervious to rain . . . .&#8221; <b>[Sentence 4: Tell why you include this quote]</b> As you can see, he was careful in the way he constructed his house, and he did wish to be protected from the elements when necessary. <b>[Sentence 5: Expand on your point by adding more information to strengthen the support]</b> It is also interesting that he did not actually move to the woods until this house was ready for him to live in. <b>[Sentence 6: Reminder of how this relates to your main idea]</b> So it is apparent that while he loved nature, he wasn&#8217;t willing to live in a cave, or even a tent.
</p>
<p>
<b>Notes about including quotations:</b>
</p>
<p>
1. As you think about integrating quotations, keep looking for ways to be more concise and lively:
</p>
<blockquote><p>First Draft: In <i>The Prince</i> Machiavelli states that the general requirement of a prince is to &#8220;endeavor to avoid those things which would make him the object of hatred and contempt.&#8221;
</p>
<p>
Revision: In <i>The Prince</i> Machiavelli states that a prince should &#8220;endeavor to avoid those things which would make him the object of hatred and contempt.&#8221;</p></blockquote>
<p>
2. Make sure your quotations fit grammatically into the paragraph. They can&#8217;t simply be stuck in anywhere. Like any other elements of writing, quotations must be incorporated so that the sentence as a whole makes grammatical sense. For example, a quotations that&#8217;s an independent clause must not be spliced onto another independent clause:
</p>
<blockquote><p>First Draft: Hawking is at heart a scientist, &#8220;I think there is a universe out there waiting to be investigated and understood.&#8221;
</p>
<p>
Revision: Hawking is at heart a scientist: &#8220;I think there is a universe out there waiting to be investigated and understood.&#8221; </p></blockquote>
<p>
3. Useful words for introducting a quotation: 
</p>
<blockquote><p>suggests
<br />
implies
<br />
testifies to
<br />
indicates
<br />
argues (that, for)
<br />
shows
<br />
demonstrates
<br />
supports
<br />
underscores </p></blockquote>
<p>
4. It&#8217;s important to explain what it is about the quote that you want the reader to notice. What&#8217;s your point? The revision does a much better job of helping the reader make sense of the quotation and how it helps the writer&#8217;s arugment:
</p>
<blockquote><p>First Draft: Iago says to Othello, &#8220;Who steals my purse steals trash; . . . / . . . / But he that filches from me my good name / Robs me of that which not enriches him / And makes me poor indeed&#8221; (3.3.157-61).
</p>
<p>
Revision: Drawing Othello further into his web, Iago suggests that public embarrassment would be intolerable: &#8220;Who steals my purse steals trash; . . . / . . . / But he that filches from me my good name / Robs me of that which not enriches him / And makes me poor indeed&#8221; (3.3.157-61). Iago, of course, is utterly contradicting his earlier declamation to Cassio on the folly of reputation (2.3.256-61).
<br />
</p></blockquote>]]></content>
    </entry>

    <entry>
      <title>Semester Test Study Guide</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/semester_test_study_guide/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2690</id>
      <published>2009-01-13T04:44:16Z</published>
      <updated>2009-01-16T04:47:25Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>The study guide on your class home page on Moodle has hot links to texts. 
</p>
<p>
Here&#8217;s a <a href="http://www.flatheadreservation.org/images/phs/08-09_Final_Exam_Review_Sheet.pdf">text</a> version.
</p>]]></content>
    </entry>

    <entry>
      <title>Semester Test</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/semester_test1/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2692</id>
      <published>2009-01-13T00:26:16Z</published>
      <updated>2009-01-19T05:14:00Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><b>1st Semester Test, Part 1, Wednesday </b>
</p>
<p>
The following readings are covered by this test:
</p>
<p>
<i>Desperate Crossing</i> (video)
<br />
&#8220;A History of Plymouth Plantation&#8221; by William Bradford
<br />
&#8220;A Model of Christian Charity&#8221; by John Winthrop
<br />
&#8220;Some Verses Upon the Burning of Our House&#8221; by Anne Bradstreet
<br />
&#8220;A Narrative of the Capitivity of Mary Rowlandson&#8221; by Mary Rowlandson
<br />
<i>The Autobiography</i> by Benjamin Franklin
<br />
<i>The Crucible</i> by Arthur Miller
</p>
<p>
There will also be a grammar and usage section dealing with modifiers.
</p>
<p>
<b>1st Semester Test, Part 2, Thursday</b>
</p>
<p>
The following readings are covered by this test:
</p>
<p>
The Enlightenment (Revolutionary Period)
<br />
Romanticism (study the introduction to this literary period)
<br />
The Declaration of Independence
<br />
Henry Wadsworth Longfellow
<br />
Walt Whitman
<br />
A Narrative of the Life of Frederick Douglass
<br />
The American Renaissance (study the introduction to this literary period)
<br />
Ralph Waldo Emerson and Transcendantalism
<br />
Henry David Thoreau (Resistance to Civil Government)
</p>
<p>
There will be a grammar and usage section focusing on Active and Passive Voice
</p>
<p>
Advanced: These people do not need to take the semester final (already have an &#8220;A&#8221; for semester grade): <b>Melissa, Jordan, Laura, Karissa, Christian, Erika, Tim, Mary</b>. However, some of these are A-, so the semester final may help.
</p>
<p>
Grades
<br />
194-207  A   (6)
<br />
191-193  A-  (5)
<br />
185-190  B+ (8)
<br />
176-184  B   ((5)
<br />
168-175  B-  (9)
<br />
158-166  C+ (6)
<br />
138-155  C   (7)
<br />
117-133  C-  (8)
<br />
100-110  D+ (3)
<br />
88 - 100 D -  (4)
<br />
-88         F   (6)
</p>]]></content>
    </entry>

    <entry>
      <title>Socratic Dialogue Thoreau</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/socratic_dialogue_thoreau/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2205</id>
      <published>2009-01-12T14:43:03Z</published>
      <updated>2009-01-12T16:06:03Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="Romanticism"
        scheme="http://www.flatheadreservation.org/index.php/site/category/Romanticism/"
        label="Romanticism" />
      <content type="html"><![CDATA[<p><b>Essential Question</b>
</p>
<p>
 Are we obligated to always obey the law? If yes, why? If no, what criteria can be used to determine when disobedience is morally justified?
</p>
<p>
<b>Opening</b>
</p>
<p>
1. What word, phrase or line do we need to understand to get to the heart of Thoreaus work?
<br />
2. What does Thoreau want us to believe? 
<br />
3. Do you like Thoreau&#8217;s viewpoint? Why or why not?
</p>
<p>
<b>Core</b>
</p>
<p>
1. Which did Thoreau think was most important--that government should increase the material equality between citizens, or that government should preserve the liberty of citizens? Relating this to other texts we have read, which do you think the 1776 generation (Thomas Paine, Patrick Henry, Thomas Jefferson) would say was most important?
</p>
<p>
2. Thoreau begins with a quote from Thomas Jefferson"That government is best which governs least.&#8221; In what other ways is Thoreau&#8217;s thinking similar to the thinking of those who signed the Declaration of Independence? Can you see any ways in which his thinking differs from theirs?
</p>
<p>
3. Who should  ultimately have the final say: the individual, the citizens as a whole, or the government? Do we (as citizens) have responsibilities to society? What are they? 
<br />
What are the limits that government should follow in intruding in our daily lives?
</p>
<p>
Can the government restrict your beliefs?&nbsp; Are there beliefs or actions that the government should try to alter? Should we be forced to pay taxes for other people&#8217;s needs?
</p>
<p>
4. In<i> Walden</i>, Thoreau said, &#8220;The government of the country I live in was not framed in after-dinner conversations over the wine.&#8221; 
</p>
<p>
In <i>Civil Disobedience</i>, he says &#8220;I please myself with imagining a State at last which can afford to be just to all men, and to treat the individual with respect as a neighbor; which even would not think it inconsistent with its own repose if a few were to live aloof from it, not meddling with it, nor embraced by it, who fulfilled all the duties of neighbors and fellow men.&#8221;
</p>
<p>
Does he mean the same thing by &#8220;the country&#8221; in the first quote as he means by &#8220;a State&#8221; in the second quote? Explain differences between the meaning of a country, a nation, and a state.
</p>
<p>
5. In discussing the role of the individual, which quote best outlines your philosophy?
</p>
<blockquote><p>&#8220;If the injustice is part of the necessary friction of the machine of government, let it go. . .perchance it will wear smooth - certainly the machine will wear out. If it is of such a nature that it requires you to be the agent of injustice to another, then , I say, break the law.&nbsp; Let your life be a counter friction to stop the machine.&#8221; Thoreau
</p>
<p>
&#8220;An individual must do what his city or country demands of him or he must change their view of what is just.&#8221; Socrates
</p>
<p>
&#8220;Ask not what your country can do for you but what you can do for your country.&#8221; Kennedy</p></blockquote>
<p>
	What problems or limitations do you see with the various views?
<br />
	What should be the relationship between the individual and the government?
</p>
<p>
What is the best reason (or what are the best reasons) for obeying the law? Are there some circumstances that outweigh these reasons? Is there ever a valid reason for breaking a law?
<br />
What should the consequences be for someone who breaks the law because of moral convictions?
<br />
Can you see yourself breaking a law in order to obey a higher principle?&nbsp; Explain
</p>
<p>
6. Can we ever reach the government that Thoreau advocates?
<br />
Are we a democracy in Thoreau&#8217;s eyes? In your eyes? In the textbook definition of democracy?
<br />
What areas of our government today would Thoreau attack?&nbsp; Defend
<br />
Are there leaders today that Thoreau would admire?&nbsp; Detest?&nbsp; 
</p>
<p>
<b>Closing</b>
</p>
<p>
1. What are some situations today where people are working for changes in the name of justice (liberty) or social justice (equality)?&nbsp; To what extent should they go to accomplish their goal? What advice might Thoreau give them?
</p>
<p>
2. If Thoreau were alive today how would he judge America?
</p>]]></content>
    </entry>

    <entry>
      <title>Thoreau Resources</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/thoreau_resources/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2685</id>
      <published>2009-01-12T14:33:08Z</published>
      <updated>2009-11-14T06:08:08Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>Introduction with good interpretation, both Walden and &#8220;Civil Disobedience&#8221; (4 minutes): <a href="http://www.youtube.com/watch?v=JhP7PKoRmmY&amp;feature=related">http://www.youtube.com/watch?v=JhP7PKoRmmY&amp;feature=related</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/RichDadPoorDad.pdf">Fear (from Rich Dad/Poor Dad)</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/transcendentalism_outline.pdf" title="Transcendentalism">Transcendentalism</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Walden-essay_topics.pdf">Walden: Essay/Discussion Questions</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Socratic_Dialogue_Thoreau.pdf">Socratic Dialogue Questions - Civil Disobedience</a>
</p>
<p>
<a href="http://www.viddler.com/explore/jfatheree/videos/46">Slow Down</a>: A student video
</p>
<p>
<b>Lecture</b>
</p>
<p>
Thoreau &amp; Individualism and Transcendentalism, emphasis on Civil Disobedience, Part 1 (9 minutes): <a href="http://www.youtube.com/watch?v=AGdreCP6shU&amp;feature=related">http://www.youtube.com/watch?v=AGdreCP6shU&amp;feature=related</a>
</p>
<p>
Thoreau &amp; Individualism part 2 (references Winthrop&#8217;s community)(9:10): <a href="http://www.youtube.com/watch?v=HV4YHOjJLDk&amp;feature=channel_page">http://www.youtube.com/watch?v=HV4YHOjJLDk&amp;feature=channel_page</a>
</p>
<p>
Thoreau &amp; Individualism, Part 3 (8:43): <a href="http://www.youtube.com/watch?v=_66e7ufanX4&amp;feature=channel_page">http://www.youtube.com/watch?v=_66e7ufanX4&amp;feature=channel_page</a>
</p>
<p>
Photographs and quotations focused on observation of nature (6 minutes): <a href="http://www.youtube.com/watch?v=b0Quw_RPB0U">http://www.youtube.com/watch?v=b0Quw_RPB0U</a>
</p>
<p>
<b>Intro to Walden</b>
</p>
<p>
1. Fear is the main obstacle to happiness 
</p>
<p>
&#8220;Why are they in such desperate haste to succeed and in such desperate enterprises&#8221;
<br />
<ol><li>Fear of not having enough (how simple to build a house and plant a garden)</li>
<li>Fear of not being enough</li>
<li>Appreciation is fears most powerful antidote. A mind can&#8217;t be in a state of appreciation and a state of fear at the same time: appreciate the view, the taste of chocolate, a friend&#8217;s sense of humor</li></ol>
<p>
The pursuit of pleasure, as an antidote to fear, doesn&#8217;t work.
</p>
<p>
We glimpse in the best literature where we really are, which helps us see who we really are. Sometimes the speaker tells, directly and without dissembling, the most important secrets. Unfortunately, the secrets remain unrevealed because only those who can hear them can hear them, no matter how plainly they are said. Thoreau&#8217;s language in the conclusion is not figurative but literal. In fact, if we set about doing the right thing for the right reason, the universe around them will change if need be.
</p>
<p>
The difficulty lies in knowing what is the right thing and what is the right reason. All of us have shipwrecked on our vain realities.
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Thoreau-civil-disobedience-annotated.doc">Thoreau-civil-disobedience-annotated.doc</a>
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Thoreau-civil-disobedience-annotated.pdf">Thoreau-civil-disobedience-annotated.pdf</a>
</p>
<p>
<b>AGENDA FOR SOCRATIC DIALOGUE</b>
</p>
<p>
<b>Essential Question</b>
</p>
<p>
 Are we obligated to always obey the law? If yes, why? If no, what criteria can be used to determine when disobedience is morally justified?
</p>
<p>
<b>Opening</b>
</p>
<p>
1. What word, phrase or line do we need to understand to get to the heart of Thoreaus work?
<br />
2. What does Thoreau want us to believe? 
<br />
3. Do you like Thoreau&#8217;s viewpoint? Why or why not?
</p>
<p>
<b>Core</b>
</p>
<p>
1. Which did Thoreau think was most important--that government should increase the material equality between citizens, or that government should preserve the liberty of citizens? Relating this to other texts we have read, which do you think the 1776 generation (Thomas Paine, Patrick Henry, Thomas Jefferson) would say was most important?
</p>
<p>
2. Thoreau begins with a quote from Thomas Jefferson"That government is best which governs least.&#8221; In what other ways is Thoreau&#8217;s thinking similar to the thinking of those who signed the Declaration of Independence? Can you see any ways in which his thinking differs from theirs?
</p>
<p>
3. Who should  ultimately have the final say: the individual, the citizens as a whole, or the government? Do we (as citizens) have responsibilities to society? What are they? 
<br />
What are the limits that government should follow in intruding in our daily lives?
</p>
<p>
Can the government restrict your beliefs?&nbsp; Are there beliefs or actions that the government should try to alter? Should we be forced to pay taxes for other people&#8217;s needs?
</p>
<p>
4. In<i> Walden</i>, Thoreau said, &#8220;The government of the country I live in was not framed in after-dinner conversations over the wine.&#8221; 
</p>
<p>
In <i>Civil Disobedience</i>, he says &#8220;I please myself with imagining a State at last which can afford to be just to all men, and to treat the individual with respect as a neighbor; which even would not think it inconsistent with its own repose if a few were to live aloof from it, not meddling with it, nor embraced by it, who fulfilled all the duties of neighbors and fellow men.&#8221;
</p>
<p>
Does he mean the same thing by &#8220;the country&#8221; in the first quote as he means by &#8220;a State&#8221; in the second quote? Explain differences between the meaning of a country, a nation, and a state.
</p>
<p>
5. In discussing the role of the individual, which quote best outlines your philosophy?
</p>
<blockquote><p>&#8220;If the injustice is part of the necessary friction of the machine of government, let it go. . .perchance it will wear smooth - certainly the machine will wear out. If it is of such a nature that it requires you to be the agent of injustice to another, then , I say, break the law.&nbsp; Let your life be a counter friction to stop the machine.&#8221; Thoreau
</p>
<p>
&#8220;An individual must do what his city or country demands of him or he must change their view of what is just.&#8221; Socrates
</p>
<p>
&#8220;Ask not what your country can do for you but what you can do for your country.&#8221; Kennedy</p></blockquote>
<p>
	What problems or limitations do you see with the various views?
<br />
	What should be the relationship between the individual and the government?
</p>
<p>
What is the best reason (or what are the best reasons) for obeying the law? Are there some circumstances that outweigh these reasons? Is there ever a valid reason for breaking a law?
<br />
What should the consequences be for someone who breaks the law because of moral convictions?
<br />
Can you see yourself breaking a law in order to obey a higher principle?&nbsp; Explain
</p>
<p>
6. Can we ever reach the government that Thoreau advocates?
<br />
Are we a democracy in Thoreau&#8217;s eyes? In your eyes? In the textbook definition of democracy?
<br />
What areas of our government today would Thoreau attack?&nbsp; Defend
<br />
Are there leaders today that Thoreau would admire?&nbsp; Detest?&nbsp; 
</p>
<p>
<b>Closing</b>
</p>
<p>
1. What are some situations today where people are working for changes in the name of justice (liberty) or social justice (equality)?&nbsp; To what extent should they go to accomplish their goal? What advice might Thoreau give them?
</p>
<p>
2. If Thoreau were alive today how would he judge America?
</p>
<p>
<a href="http://www.flatheadreservation.org/images/phs/Socratic_Dialogue.pdf">Socratic_Dialogue Questions (PDF)</a>
</p>]]></content>
    </entry>

    <entry>
      <title>Wordles for Great Gatsby</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/wordles_for_great_gatsby/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2684</id>
      <published>2009-01-11T03:39:09Z</published>
      <updated>2009-01-11T03:41:09Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <category term="The Great Gatsby"
        scheme="http://www.flatheadreservation.org/index.php/site/category/the_great_gatsby/"
        label="The Great Gatsby" />
      <content type="html"><![CDATA[<p>CLICK on the thumbnails to see a larger version.</p>
<p>Chapter 1</p>

<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle1.jpg" title="gatsbywordle1.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle1.thumbnail.jpg" alt="gatsbywordle1.jpg" /></a></p>
<p>Chapter 2</p>
<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle2.jpg" title="gatsbywordle2.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle2.thumbnail.jpg" alt="gatsbywordle2.jpg" /></a></p>
<p>Chapter 3</p>
<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbyworlde3.jpg" title="gatsbyworlde3.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbyworlde3.thumbnail.jpg" alt="gatsbyworlde3.jpg" /></a></p>
<p>Chapter 4</p>
<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbyworlde4.jpg" title="gatsbyworlde4.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbyworlde4.thumbnail.jpg" alt="gatsbyworlde4.jpg" /></a></p>
<p>Chapter 5</p>
<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle5.jpg" title="gatsbywordle5.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle5.thumbnail.jpg" alt="gatsbywordle5.jpg" /></a></p>
<p>Chapter 6</p>
<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle6.jpg" title="gatsbywordle6.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle6.thumbnail.jpg" alt="gatsbywordle6.jpg" /></a></p>
<p>Chapter 7</p>

<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle7.jpg" title="gatsbywordle7.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle7.thumbnail.jpg" alt="gatsbywordle7.jpg" /></a></p>
<p>Chapter 8</p>
<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle8.jpg" title="gatsbywordle8.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle8.thumbnail.jpg" alt="gatsbywordle8.jpg" /></a></p>
<p>Chapter 9</p>
<p><a href="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle9.jpg" title="gatsbywordle9.jpg"><img src="http://teacheng.us/wp-content/uploads/2008/10/gatsbywordle9.thumbnail.jpg" alt="gatsbywordle9.jpg" /></a></p>]]></content>
    </entry>

    <entry>
      <title>Hearing Cadence</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/hearing_cadence/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2676</id>
      <published>2009-01-07T15:07:38Z</published>
      <updated>2009-01-07T15:11:37Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p><a href="http://www.flatheadreservation.org/images/phs/cadence-bible-lincoln.pdf">Printable PDF</a>
</p>
<p>
<b>Ecclesiastes 3</b>
</p>
<p>
A Time for Everything
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1 To every thing there is a season, and a time to every purpose under the heaven:
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2 a time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted;
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3 a time to kill, and a time to heal; a time to break down, and a time to build up;
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4 a time to weep, and a time to laugh; a time to mourn, and a time to dance;
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5 a time to cast away stones, and a time to gather stones together; a time to embrace, and a time to refrain from embracing;
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6 a time to get, and a time to lose; a time to keep, and a time to cast away;
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7 a time to rend, and a time to sew; a time to keep silence, and a time to speak;
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8 a time to love, and a time to hate; a time of war, and a time of peace.
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9 What profit hath he that worketh in that wherein he laboreth?
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10 &#182; I have seen the travail, which God hath given to the sons of men to be exercised in it.
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11 He hath made every thing beautiful in his time: also he hath set the world in their heart, so that no man can find out the work that God maketh from the beginning to the end.
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12 I know that there is no good in them, but for a man to rejoice, and to do good in his life.
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13 And also that every man should eat and drink, and enjoy the good of all his labor, it is the gift of God.
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14 I know that, whatsoever God doeth, it shall be for ever: nothing can be put to it, nor any thing taken from it: and God doeth it, that men should fear before him.
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15 That which hath been is now; and that which is to be hath already been; and God requireth that which is past.
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<p>
<b>Lincoln</b>
</p>
<p>
Abraham Lincoln&#8217;s two addresses, in 1861 and 1865, are regarded as the best not just among inaugural addresses but in the history of American oratory.
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<p>
In the first address, Lincoln, speaking to an assembled throng in front of the East Portico of the Capitol, tried to prepare the North for war.
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<p>
&#8220;The mystic chords of memory, stretching from every battlefield and patriot grave to every living heart and hearthstone all over this broad land, will yet swell the chorus of the Union, when again touched, as they surely will be, by the better angels of our nature.&#8221;
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<p>
Four years later, before a crowd that historians believe included John Wilkes Booth, who would assassinate the president a month later, Lincoln delivered a short but remarkable address, asserting that the 600,000 killed in the Civil War were God&#8217;s punishment to the nation for the sin of slavery.
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<p>
&#8220;With malice toward none, with charity for all, with firmness in the right as God gives us to see the right, let us strive on to finish the work we are in, to bind up the nation&#8217;s wounds, to care for him who shall have borne the battle and for his widow and his orphan, to do all which may achieve and cherish a just and lasting peace among ourselves and with all nations.&#8221;
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<p>
Lincoln&#8217;s second inaugural address &#8220;is probably the best inaugural address ever delivered because of its great explanation of why we had the Civil War&#8212;God&#8217;s punishment for slavery,&#8221; Ryan said.
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<p>
&#8220;It had an Old Testament language and cadence,&#8221; said Chris Matthews, The Chronicle&#8217;s national columnist and onetime speechwriter for President Jimmy Carter. &#8220;The level of the language was so eloquent, so sublime.&#8221;
</p>]]></content>
    </entry>

    <entry>
      <title>Yanna Rider</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/yanna_rider/" />
      <id>tag:flatheadreservation.org,2009:index.php/phs/index/14.2666</id>
      <published>2009-01-01T08:45:31Z</published>
      <updated>2009-01-01T08:48:31Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<p>WHAT makes a strong argument - one that will pass the scrutiny of your audience? Simply wording an argument strongly doesn&#8217;t make it any more weighty than pounding one&#8217;s fist on the table makes one&#8217;s opinion right. Here are three things you should aim for:
</p>
<p>
<b>First</b>, be consistent. Have you undermined your own position by mentioning an objection and failing to rebut it? Considering objections strengthens your argument, but only if you can rebut them successfully. A rebuttal must show either that an objection is wrong or that it is somehow irrelevant. Let&#8217;s suppose you contend that we&#8217;re in the grip of climate change, yet you mention that some experts disagree. Unless you can show me why I should discount the skeptical experts&#8217; opinion, you&#8217;ll have undermined your argument.
</p>
<p>
<b>Second</b>, is your argument rationally compelling? Since an opinion piece is too short ever to be comprehensive, choose your arguments judiciously. Address the most significant and highly relevant considerations bearing on your issue. Once you have sketched out your arguments try this test: could someone else, given the same information as you&#8217;ve presented, reach a different conclusion from yours? If the answer is yes, your argument is weak. Why might someone reach a different conclusion based on the same information? If you have addressed all the major considerations, then the problem probably lies in something left unsaid. What assumptions does your reader perhaps not share with you?
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<p>
For example, suppose you are against the introduction of a national identity card. In support, you claim that identity cards infringe civil liberties. But I might say, &#8220;So what?&#8221; If I feel sufficiently threatened by whatever it is identity cards are supposed to stop, I may think it&#8217;s sometimes worth trading freedom for safety.
</p>
<p>
Your argument presupposes that infringing civil liberties is always a bad thing. Here is an assumption we don&#8217;t share.
</p>
<p>
If you identify such potential clashes you can address them by supporting your view further.
</p>
<p>
You might say, for instance, that a government with the power to infringe civil liberties is potentially more dangerous than a few crooks, however bad. Now you have a chance of winning me over. Unless you justify potentially controversial assumptions, I may fail to see the point of your argument and conclude something different than you.
</p>
<p>
<b>Third</b>, check your foundations. All arguments must &#8220;bottom out&#8221; somewhere. They come to rest on fundamental premises that you take for granted. These are the claims on which ultimately all your arguments rely. How solid are they?
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<p>
Ask yourself on what basis you make each claim. Is it common knowledge? Expert opinion? A statistic? Your own personal knowledge or experience? Why would someone else accept it?
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<p>
If, for instance, you think something is common knowledge, is it clear that it&#8217;s correct and not just a commonly held - but mistaken - opinion? Common misconceptions, such as stereotypes, are not solid grounds for rational argument.
</p>
<p>
IF IT is the opinion of an expert, what makes this person an expert? How good are their credentials? Do other experts in the relevant field agree? Could your source&#8217;s opinion be biased? Would your readers readily accept the opinion of a tobacco industry expert who says smoking is beneficial, or of a climatologist whose research was funded by a petrochemical company? What about the opinions of a politician, or of an editor or journalist? What factors might influence the views they present?
</p>
<p>
Even &#8220;factual&#8221; claims can be wrong or misleading. Statistics can be based on poor research or be misinterpreted or misused. People can choose what facts to present and not give the whole picture. This doesn&#8217;t mean you should ignore factual claims or statistics. Just be mindful that there may be another version.
</p>
<p>
If you&#8217;re writing from experience, think &#8220;big picture&#8221; then illustrate with specific detail. Anecdotes or personal touches can resonate with audiences because people can relate to them. But make me see beyond the personal. You can elicit my sympathy by describing the pain and loss of dignity suffered by a terminally ill grandparent; but, however sympathetic, I may not be convinced that euthanasia is therefore right. The leap from your personal experience to changing legislation is too great. Make me see the bigger, more universal picture, where those suffering could be &#8220;me and mine&#8221;. That thought is more likely to be compelling.
</p>
<p>
The idea is to think critically about your own argument before your audience does, so you can strengthen it before you present it. But critical thinking begins with clear thinking. The strength of an argument lies in the logical connections between thoughts. If those thoughts and the connections between them are not clearly articulated, they are impossible to evaluate. To check your argument effectively you must have a very clear idea of exactly what it is - the bare, logical bones of it. So plan your case with care: keep the language simple, unadorned and to the point, devoid of rhetorical devices and use a technique like argument mapping to clarify the connections. Argument maps show the rational relationships between your thoughts much more clearly than prose does, allowing you to check them more easily.
</p>
<p>
Have you given your argument the &#8220;all clear&#8221;? Then it&#8217;s time to choose the right language with which to present it.
</p>
<p>
Yanna Rider is a Melbourne University philosophy fellow and works with Austhink, a Melbourne-based consultancy and software firm specialising in critical thinking skills for schools, government departments and businesses.
</p>]]></content>
    </entry>

    <entry>
      <title>Poetry Meters</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/poetry_meters/" />
      <id>tag:flatheadreservation.org,2008:index.php/phs/index/14.2659</id>
      <published>2008-12-27T11:02:09Z</published>
      <updated>2008-12-27T11:16:09Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<br /><object width="425" height="355" id="player"><param name="movie" value="http://www.authorstream.com/player.swf?p=tccampa-65538-poetry-meter-rhythm-writing-poet-education-ppt-powerpoint" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player.swf?p=tccampa-65538-poetry-meter-rhythm-writing-poet-education-ppt-powerpoint" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="355"></embed></object><br><font size='2'>Uploaded on authorSTREAM by <a href="http://www.authorstream.com/User-Presentations/tccampa/" target="_blank" title="More presentations by tccampa on authorSTREAM">tccampa</a></font>]]></content>
    </entry>

    <entry>
      <title>American Romanticism</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/american_romanticism1/" />
      <id>tag:flatheadreservation.org,2008:index.php/phs/index/14.2658</id>
      <published>2008-12-27T10:57:30Z</published>
      <updated>2008-12-27T10:58:30Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<object width="425" height="355" id="player"><param name="movie" value="http://www.authorstream.com/player.swf?p=Clown-11795-Romaticism-American-Romanticism1800-1860-Product-Training-Manuals-ppt-powerpoint" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player.swf?p=Clown-11795-Romaticism-American-Romanticism1800-1860-Product-Training-Manuals-ppt-powerpoint" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="355"></embed></object><br><font size='2'>Uploaded on authorSTREAM by <a href="http://www.authorstream.com/User-Presentations/Clown/" target="_blank" title="More presentations by Clown on authorSTREAM">Clown</a></font>]]></content>
    </entry>

    <entry>
      <title>Comparing Longfellow and Whitman</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/comparing_longfellow_and_whitman/" />
      <id>tag:flatheadreservation.org,2008:index.php/phs/index/14.2657</id>
      <published>2008-12-27T10:53:50Z</published>
      <updated>2008-12-27T10:53:49Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<object width="425" height="355" id="player"><param name="movie" value="http://www.authorstream.com/player.swf?p=SWVega-86660-comparison-contrast-literary-essay-writing-composition-comparisoncontrastsamplepoetry-education-ppt-powerpoint" /><param name="allowfullscreen" value="true" /><param name="allowScriptAccess" value="always"/><embed src="http://www.authorstream.com/player.swf?p=SWVega-86660-comparison-contrast-literary-essay-writing-composition-comparisoncontrastsamplepoetry-education-ppt-powerpoint" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="355"></embed></object><br><font size='2'>Uploaded on authorSTREAM by <a href="http://www.authorstream.com/User-Presentations/SWVega/" target="_blank" title="More presentations by SWVega on authorSTREAM">SWVega</a></font>]]></content>
    </entry>

    <entry>
      <title>Civil War video: Gettysburg</title>
      <link rel="alternate" type="text/html" href="http://www.flatheadreservation.org/index.php/site/civil_war_video_gettysburg/" />
      <id>tag:flatheadreservation.org,2008:index.php/phs/index/14.2655</id>
      <published>2008-12-27T05:54:51Z</published>
      <updated>2008-12-27T06:18:50Z</updated>
      <author>
            <name>Michael L Umphrey</name>
            <email>mlumphrey@flatheadreservation.org</email>
                  </author>

      <content type="html"><![CDATA[<br /><b>The Confederate barrage</b><br />
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/c86EmmMK7pE&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/c86EmmMK7pE&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />
<b>Pickett's Charge</b><br />
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/-iT0Hmu5bXY&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-iT0Hmu5bXY&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><b>More Pickett's Charge</b><br />
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/FiDumCX_Pr8&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/FiDumCX_Pr8&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />
<b>Joshua Chamberlain on Little Round Top</b><br />
<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/wYDhAmjmxYk&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/wYDhAmjmxYk&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>]]></content>
    </entry>


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