Saturday, November 7, 2015

Media Bias Article Selection


Rationale: This written assignment aims to examine the conservative media bias of Fox News in its coverage of Ferguson’s Michael Brown Shooting. News reporters supported the grand jury’s decision in declaring the police officer who killed the unarmed black youth Michael Brown, Darren Wilson, innocent and free of all responsibility and charges. Clearly the underlying ideology of the Fox news article took an overwhelming bias sympathetic of the white population, and almost a dehumanization of black people. I have rewritten this article from the standpoint of Michael Brown champions.

The grand jury failed to indict the white police officer Darren Wilson for killing the unarmed black youth Michael Brown; two realities were illuminated: Black and white people rarely view race in the same way or agree about how to resolve racial conflicts, and this results in explosive events such as this shooting.
The grand jury failed to indict the white police officer Darren Wilson for killing the unarmed black youth Michael Brown; two realities were illuminated: Black and white people rarely view race in the same way or agree about how to resolve racial conflicts, and this results in explosive events such as this shooting.
From the start, most African-Americans were convinced that Michael Brown’s death wouldn’t be fairly considered by Ferguson’s criminal justice system. They feared that the prosecutor’s main goal was to coach Darren Wilson to say all the right things in order to avoid incarceration. But this begs the question of what the underlying implications behind his white race are?
Despite the fact that he used the impersonal pronoun “it” when he said that Michael Brown looked like a “demon” rushing him, greatly dehumanizing Brown on the basis of color, he was still deemed innocent. To the police officer and to many whites, Michael Brown was the black terrorizing object that belittled him and made him feel threatened. Although this claim seems to be factually-based it fails to consider the centuries of oppression and lack of prerogative the black population is endowed with and the inherent disadvantage that comes with being a person of color.
These clashing perceptions underscore the perceptions of race, in which an observer effect operates: the instrument through which one perceives race — one’s culture, one’s experiences, one’s fears and fantasies — alters in crucial ways the manner with which we perceive such racially and emotionally charged cases as these.Our American culture’s fearful dehumanizing of black men materialized once again when Officer Wilson saw Michael Brown as a demonic force who had to be put down and be deservedly purged with not one- but multiple bullets. 
On Tuesday, the president declared, “I do not have any sympathy” for those who destroy “your own communities.” While he avoided saying so, it was clear that his remarks were directed at the black people who looted and rioted in Ferguson. But their criminal activity is the effect of going unrecognized by the state for decades, a crime in itself. Cleary, such cases highlighting police brutality which pits the white police officer against the innocent black civilian should not come as a surprise to the president. What surprised the president as well as the majority of US citizens is the mass garnering of support to the plight of one seemingly insignificant black man and the strong emotionally heightened response it has elicited from minority groups who can easily relate to injustices wrought by the more powerful white race. They decided to take a stand and break this repetitive and sickening cycle of submission. 
Mr. Obama’s treacherous balancing act between white and black, left and right, obscures who has held the power for the longest amount of time to make things the way they are. This is something he can never admit, but which serves as an underlying tone and depressing reminder made in all of his political decisions. He is the ultimate paradox: the product of white assault with a realm of power.
Ultimately, we still lived in two societies, one white, one black, separate and still unequal. If our president and our nation now don’t show the will and courage to display the truth and illustrate minority groups's struggles in issues of race, shootings and explosive events of this caliber involving police brutality will continue as it has in centuries past. The only difference is that the media is becoming increasingly immune to such cases, and eventually they will cease to be of importance in news event as it will gain such a normal status that the unfair killing of a black man can be equated to petty crimes unworthy of being given a second look. Let us take advantage of mass media coverage and universal recognition of racial profiling to shift the power dynamic between races and gain level ground through public support.
 

Sunday, October 4, 2015

This is Water




Literature has the ability to develop empathy and emotional intelligence through realistically capturing shared human emotions through interactions that may not be shared by all readers. Situations which may seem foreign to one individual can help increase his or her understanding and awareness of what an individual facing those particular conditions is going through. A person who is indeed facing the same situation as the character in the piece of literature could greatly relate and feel a connection to the author; he or she could also learn how to cope as a result with the knowledge that they are not alone. The theory of ‘This is Water’ extends this inquiry. Throughout his speech, David Foster Wallace incorporates experiences that are all too familiar with all of his listeners and presents their thoughts verbally. After establishing this bond with his audience he is able to shed light on another point of view to the same shared experience to urge others to take an extra moment and go beyond their personal thoughts and to consider the circumstances of those around us. For instance, Wallace artistically portrays the ‘day in day out’ phenomena, specifically the annoyance all grocery shoppers have while waiting in the long checkout line after a tiresome 9-5 job. After creating this common ground of relatability, Wallace then proceeds to interpret the same sequence of events from another, arguably more empathetic and optimistic perspective which takes into account the rare but possible sympathetic scenarios of those standing in the exact same checkout line. Even if those scenarios did not exist, the very fact that everyone in that grocery store is just as bored, weary, and worn-down provides comfort to the audience. Ultimately, what Wallace refers to as ‘water’ is simply the surrounding environment we need to be aware of, something that is so clearly in front of our eyes but so often ignored- the recognition of other’s lives in the context of our own. Literature can serve as this key to remembering ‘water’ by reminding us that the world does not just revolve around experiences that only we have, but rather the collective stories, hardships, triumphs, rejections, successes of all humans that inhabit this world with us.

Sunday, September 27, 2015

IOC Munro

https://drive.google.com/open?id=0B2F7L0dp5kQ1Z0Fyd2FTMVZsN1k

Sunday, September 6, 2015

Discussion Questions

Not only do they build their vocabulary and reading comprehension skills, students can build their metacognitive skills while annotating literature, and then use those annotations to assist them in comparing or contrasting, or evaluating and analyzing the text in terms of theme, conflict, figurative language, tone or mood. Studying literature has many benefits that extend beyond higher level critical thinking skills as well including gaining a deeper sense of empathy. Reading allows children to experience situations vicariously, and think about what they would do in the character's place. Although it could be argued that it is a generalized statement, women’s literature is usually written by women in the recent century, it explores themes which explore the struggle of sexism or the conflict women have between societal expectations and true identities.  Munro’s social realism was significant as it further insinuated the upcoming feminism wave. Munro’s work contributed to gender equality as she pioneered the genre of women’s literature and provided an original lens on mundane life experiences from the perspective of a female. She was able to inspire other female writers to rise up and gain a voice in literature. I enjoyed reading about the morphogenesis of young girls to conform to the definition of femininity when they approach adulthood and how Munro leaves it up to the reader to interpret whether this change came about inherently or as an inevitable consequence of societal pressures.

Wednesday, September 2, 2015

Song Lyrics Analysis


Say You’re Sorry by Sara Bareilles

Circus of silence [L1] down at our feet
Paper cut tigers starting to bleed
Hang from your tightrope above the mess
[L2] 
Just say you're sorry, no more no less
Words you won't use, you don't feel them like I do
Show will be over soon
[L3] 

It's not the curtain closing causing us to call it a day
[L4] 
I want to walk away too
But I want you to say you are sorry
I'm not the one who went and made a mistake
I want to walk away too
But I want you to say you are sorry

I used to believe that the storybook's true
[L5] 
Now I don't need it, at least not with you
So if you see him, the man 'neath the mask
[L6] 
Tell him I'm leaving and not looking back
Words are no use, you don't need them like I do
Show will be over soon

It's not the curtain closing causing us to call it a day
I want to walk away too
But I want you to say you are sorry
I'm not the one who went and made a mistake
I want to walk away too
But I want you to say you're sorry

I want the one word that you refuse to say to me
You're so good at giving me responsibility
I wash my hands clean and let you watch me as I go
[L7] 
I'm sorry for you, just so you know

It's not the curtain closing causing us to call it a day
I want to walk away too
But I want you to say you are sorry
I'm not the one who went and made a mistake
I want to walk away too
But I want you to say you're sorry



Analysis

            Sara Bareilles is able to convey her coming to terms with her partner’s refusal to apologize for his actions through her use of rich figurative language.

            She begins the song with a metaphor, stating that there is a “circus of silence” down at her feet, counterintuitively describing a very vibrant festive circus as a silent event. This unusual juxtaposition could imply that the problems that Sara and her partner are experiencing should be openly discussed despite how vocal the argument may become instead of quietly ignoring the matter. She continues to evoke the image of this eccentric circus when she says that he continues to “hang from your [his] tightrope above the mess”. Similar to how a trapeze artist seems detached from the busy nature of the rest of the acts occurring on the floor of the circus, Sara expresses how her partner avoids addressing the couple’s disputes and the jumbled state of their relationship. She ends the verse affirming that the “show will be over soon”. The closing of the show is being paralleled to the end of their relationship due to their misunderstandings.

            The chorus of ‘Say you’re Sorry’ furthers Sara’s tone of frustration. She affirms that it is not “the curtain closing” causing them to “call it a day” and end their relationship, suggesting that the show or their relationship was disrupted by his mistakes. In fact she wants to “walk away” as well and come to terms with their breakup, but she desperately wants him to “say you’re [he is] sorry” as evidenced by the anaphora.

            As the song progresses, Sara alludes to “storybooks” as fairytales with stereotypical happily ever after endings. The fact that she does not believe the outcomes of these stories can be achieved with her partner exposes her need to separate from him. She addresses him as “the man ‘neath the mask” to demonstrate how his lies have concealed his true, incompatible nature. She could have also denoted him with a mask in order to supplement the visual imagery of a fictional character typically found in fairytales.

            In the fifth stanza, Sara experiences a turning point in which she becomes at peace with herself. After spending four stanzas asking him to say sorry, she says “I wash my hands clean and let you watch me as I go/ I'm sorry for you, just so you know”. When Sara ‘washes her hands’ she is signifying how she has emotionally moved on past her relationship and is ready to start fresh with someone new. She apologizes for him to indicate that she does need his remorse because she is emotionally stable and secure.

            Ultimately, through utilizing metaphors and visual imagery, Sara is able to convey the shift in her tone of frustration to acceptance in regards to her relationship with her ex-partner.