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Identity2201 Thematic Unit – ALTERNATE ASSIGNMENT
Name: _______________________________________________________
THEMATIC UNIT – ALTERNATE ASSIGNMENT FALL 2016
Identity
ESSAY
What Canada committed against First Nations was genocide. The UN should recognize it
PHIL FONTAINE AND BERNIE FARBER
Special to The Globe and Mail
On Monday, Oct. 14, we have the unique and historic opportunity to meet with Professor James Anaya, the Special United Nations Rapporteur for Indigenous People. It is our conviction that Canada’s history with First Nations people was not just dark and brutal, but in fact constituted a “genocide” as defined by the 1948 UN Convention on Genocide. Unresolved issues regarding genocide can have the effect of holding back real progress in economic development in any community.
Genocides rarely emerge fully formed from the womb of evil. They typically evolve in a stepwise fashion over time, as one crime leads to another and another.
The Holocaust is the undisputed genocide of all genocides, and it has been argued passionately by many historians that no other dark period in human history quite compares to it. Although qualitatively true in some aspects, modern historians no longer need to rely on shades of darkness in order to analyze genocide.
The United Nations Convention on the Prevention and Punishment of the Crime of Genocide (CPPCG) was adopted on Dec. 9, 1948. It gives a very clear definition of what is and what is not a genocide. Stated another way, since 1948, social scientists have had the necessary tools to determine if genocide has occurred. It should also be pointed out that under the CPPCG, the intention to commit genocide is itself a crime, and not just the act of genocide.
It’s clear that Canada’s first prime minister Sir John A. MacDonald’s policy of starving First Nations to death in order to make way for the western expansion of European settlers meets the criteria of genocide under the CPPCG.
Similarly, the entire residential school system also passes the genocide test, in particular if you consider the fact that the Department of Indian Affairs, headed by Duncan Campbell Scott, deliberately ignored the recommendations of Peter Bryce, Canada’s first Chief Medical Officer, regarding the spread of tuberculosis in the schools. Such willful disregard for the basic principles of public health constitutes an act of genocide by omission, if not deliberate commission.
Finally, we have the very recent and painful memory of forced removal of First Nations children from their families by Indian Agents which occurred in the 1960s, also known by the popular term “Sixties Scoop.” This is an act of genocide that clearly meets the CPPCG test, and also fell outside of the residential school system.
Our conviction is that Canadian policy over more than 100 years can be defined as a genocide of First Nations under the 1948 UN Genocide Convention.
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We hold that until Canada as represented by its government engages in a national conversation about our historical treatment of the First Nations; until we come to grips with the fact that we used racism, bigotry and discrimination as a tool to not only assimilate First Nations into the Canadian polity, but engaged in a deliberate policy of genocide both cultural and physical; we will never heal.
The fact that Canada’s Aboriginal peoples have not been wiped out, and are indeed growing in numbers, is not proof that genocide never occurred, as some would have us believe. The historical and psychological reality of genocide among our Aboriginal communities is very much alive and a part of living memory. The sooner we recognize this truth, the sooner both Aboriginal and non-Aboriginal Canadians will be able to heal from our shared traumas.
This is adapted from a letter to the United Nations Rapporteur for Indigenous People delivered by Phil Fontaine, a former national chief of the Assembly of First Nations, and Bernie Farber, senior vice-president of Gemini Power Corporation and former head of the Canadian Jewish Congress. It is also signed by Elder Fred Kelly, a spiritual elder and member of the AFN Council of Elders, and Dr. Michael Dan, president of gemini Power Corporation.
1. What are the authors trying to do with this letter?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
2. What methods has the author used to help persuade the reader of the importance of their words and to convince the reader to see their side?
Method One: ________________________________________
Explanation: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Method Two: ________________________________________
Explanation: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
3. How has the author achieved coherence in writing? Explain two methods of coherence and support them by giving examples from the essay.
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4. What is the purpose of this essay? Who is the intended audience? ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
5. What information does the writer assume the reader already knows? What information helps in the understanding of this essay?
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6. How does the subject of this essay relate to the idea of national identity?
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Short Story
Rich for One Day by Suzanne Jacob
Aline decided to open her eyes. She had no idea of the time but by the sounds in the house that came down into her small room in the basement, she knew that just about everyone was well into their day. The theme music of Phil Donahue made its way through the ceiling, four o’clock.
Aline grunted with pleasure. Was there anyone else like her who just woke up and form whom four o’clock meant only a delicious nest under a thick white sheepskin, it was most unlikely and Aline felt her good mood grow, she was incredibly lucky, and she took pity on the rest of the world.
Propping herself up on one elbow, she looked around her room. There were lots of crayons, paint bottles of all colours, notebooks, sheets here and there, and photographs on the large yellow piece of plywood that she had made into a work table. Aline laughed sweetly and scolded herself that she should get serious, that the mess on the table ordered to hours of work and that one must work to live. She sighed and she laughed as she hid her laughter in the warm pillow. How sweet it is.
Then she remembered, she was rich today. She had eight dollars, a fortune. She could allow herself thousands of things. Sitting up in her bed, she stretched her arms towards the ceiling,
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acknowledging her hands, she yawned with relish. She pulled her old worn cords and loosely knit sweater towards her and put them on under the sheets to stay warm. She got up.
It was wonderful. She could go to the movies and have popcorn and Coke. The telephone rang, it was Lucien, all excited, he offered her a contract. A designer needed a photographer for his spring collection, would Aline be interested?
“You, “said Lucien, “are you sleeping, or are you listening?”
Aline told him that she was listening very carefully but that she was not quite awake and that she felt too rich today to give an answer. Lucien signed, he explained to Aline that she would never be successful if she insisted on not taking things seriously, not jumping at opportunities when they came her way. Aline answered she agreed totally with Lucien’s opinion and that she often berated herself for this flagrant lack of maturity on her part, but that she really just got up and that she couldn’t help it, and if he could call back... Lucien hung up and Aline put on the Deep Purple record already out of its jacket.
It was risky to open the black burlap curtains that held out the light. The sky could be too bright, it could be too much, Aline was careful; she preferred to take the sky outside all at once, not here in this basement. She turned on her work light and poured a glass of orange juice. She kept only orange juice in her room. Usually her friends invited her to eat with them. She wasn’t difficult, whatever you say. She examined some of the negatives lying on the table, they could wait. Last Saturday’s paper was open to the entertainment page, but Aline preferred to submit herself to the good taste of the schedulers at the Cinema Outremont, expecting a surprise, she would go there and take her changes. It may be easy to find her capricious, but difficult she was not, she said to herself.
She put on her boots and looked everywhere for her keys. She wrapped herself up warmly and climbed the stairs. The street was full of people hurrying to get home, people who had finished their day, their Thursday. It was their duty to fill each day from morning to evening and to think of her day as perfectly empty; Aline felt like converting the whole world to her style of living. She got to Cote-des-Neiges.
The air was humid the sidewalks were banked by dirty snow, a swollen sky rolled from one roof to another. Aline felt invulnerable, she was absorbed by a small stubborn happiness that warmed her from inside and her small happy steps carried her home from one storefront to the next. The show window of Renaud-Bray Books was an old friend of Aline’s, always full of new items. Aline decided to go in and browse.
She opened the fat books and fingered them, she caressed and congratulated them. Books were thousands of little heaters, Aline’s hands were warm and she felt good. There were other
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customers, they also moved from one universe to the other with the pages they turned and that made pockets of heat, no doubt about it, Aline thought to herself. It didn’t occur to her to buy anything. For years now she had been in the habit of enjoying things that were available to her without feeling like she had to buy them. She didn’t need anything.
To get to the movies, she would have to take two buses, the 165 and the 160. The 165 stop was just by the bookstore but there was a line and the first bus, packed, went by without stopping. Aline walked to the next stop at the corner of Lacombe. In her oversized coat and her scarf that was too long, she felt loved and fulfilled, another bus arrived, she let it pass and continued on to the next stop across from the liquor store at the corner of Edouard Montpetit. She didn’t really feel like taking a bus. She said to herself that when she was grown up, she would have a car and a chauffeur and that she would be very, very rich, and she would have the whole back seat to herself, and that she would be surrounded by very rare things, very beautiful things, and very astonishing things, and she would never cease being astonished at all these things around her. And she would travel, she would spend all her time in this car and she would stroll over the whole world and not just one or two sidewalks. Because the light was too harsh in buses, Aline didn’t like them. There is not much that Aline didn’t like and she walked on to the next stop.
It started to snow and Aline hailed a taxi. She said to herself, “This is the way to live,” and she had the whole back seat all to herself, and the chauffeur drove where Aline wanted to go.
Then she settled herself in a seat at the movies and enjoyed the arrival of other people that came in with hands full of popcorn, gloves, mittens, hats and scarves. The lights went out and Aline started to eat her popcorn. The first image lit up the screen. I love life, thought Aline.
Circle the correct answer for each of the multiple choice questions:
(1 point each)
1. What point of view is the story told from?
A. First person minorB. First person majorC. Third person omniscient D. Third person limited
2. “You” said Lucien. “are you sleeping or are you listening” is an example of?A. ForeshadowingB. FlashbackC. Dialogue
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D. Dialect
3. What is the mood of the story?A. Light and happyB. Depressing and sadC. Serious and frighteningD. Serious and happy
4. The quote “She opened the fat books and fingered them, she caressed and congratulated them” is an example of which literary device?A. AllusionB. MetaphorC. PersonificationD. Simile
Answer each of the short answer questions. Remember to write in full sentences and to provide definitions when appropriate.
5. Explain how the character of Aline is developed using indirect characterization. Give reference to the story. (6 points)
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6. What is the theme of “Rich for One Day” ? Explain using reference to the story. (6 points)
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7. Using examples explain ONE type of conflict that is found in the story. Was the conflict resolved at the end? (6 points)
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8. Describe ONE type of irony that is found in the story, and provide examples. Explain what makes each example ironic. (6 points)
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POEM
SONNET 18
William Shakespeare
Shall I compare thee to a summer’s day?Thou art more lovely and more temperate:Rough winds do shake the darling buds of May,And summer’s lease hath all too short a date:Sometime too hot the eye of heaven shines,And often is his gold complexion dimm’d;And every fair from fair sometime declines,By chance or nature’s changing course untrimm’d;But thy eternal summer shall not fadeNor lose possession of that fair thou owest;Nor shall Death brag thou wander’st in his shade,When in eternal lines to time thou growest:So long as men can breathe or eyes can see,So long lives this and this gives life to thee.
1. Write the rhyme scheme of the poem. What patterns do you notice? ________________________________________________________________
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2. Paraphrase the main idea after each quatrain and the final rhyming couplet in the poem.________________________________________________________________
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3. Find an example of allusion in the poem. What message is he sending by including it in his sonnet?
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4. Find an example of assonance. Explain how it is effective in the poem.
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5. Using visual terms as a guideline, draw a picture representing the theme of this poem. Ensure you use the following blank sheet for your representation.
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VIEWING
Nelson Mandela
Watch a short documentary about Mandela’s life:
https://www.youtube.com/watch?v=jgQBoXsxr8w
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1. Is this visual effective in teaching us about Nelson Mandela? Why or why not? How is this effectiveness achived?
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2. Explain how the following visual devices enhance the visual’s meaning: composition, color, focal point, line.
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3. What does Mandela symbolize in the visual? Give evidence to support your response.
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ESSAY
“Black Men and Public Space” by Brent Staples
“Black Men and Public Space" – Brent Staples (b. 1951) earned his Ph.D. in psychology from the University of Chicago and went on to become a journalist. The particular occasion for Staples's reflections is an incident that occurred for the first time in the mid-1970s, when he discovered that his mere presence on the street late at night was enough to frighten a young white woman. Recalling this incident leads him to reflect on issues of race, gender, and class in the United States.
My first victim was a woman – white, well dressed, probably in her early twenties. I came upon her late one evening on a deserted street in Hyde Park, a relatively affluent neighborhood in an otherwise mean, impoverished section of Chicago. As I swung onto the avenue behind her, there seemed to be a discreet, uninflammatory distance between us. Not so. She cast back a worried glance. To her, the youngish black man – a broad six feet two inches with a beard and billowing hair, both hands shoved into the pockets of a bulky military jacket – seemed menacingly close. After a few more quick glimpses, she picked up her pace and was soon running in earnest. Within seconds she disappeared into a cross street.
That was more than a decade ago, I was twenty-two years old, a graduate student newly arrived at the University of Chicago. It was in the echo of that terrified woman's footfalls that I first began to know the unwieldy inheritance I'd come into – the ability to alter public space in ugly ways. It was clear that
she thought herself the quarry of a mugger, a rapist, or worse. Suffering a bout of insomnia, however, I was stalking sleep, not defenseless wayfarers. As a softy who is scarcely able to take a knife to a raw chicken – let alone hold one to a person's throat – I was surprised, embarrassed, and dismayed all at once. Her flight made me feel like an accomplice in tyranny. It also made it clear that I was indistinguishable from the muggers who occasionally seeped into the area from the surrounding ghetto. That first encounter, and those that followed, signified that a vast, unnerving gulf lay between nighttime pedestrians – particularly women – and me. And I soon gathered that being perceived as dangerous is a hazard in itself. I only needed to turn a corner into a dicey situation, or crowd some frightened, armed person in a foyer somewhere, or make an errant move after being pulled over by a policeman. Where fear and weapons meet – and they often do in urban America – there is always the possibility of death.
In that first year, my first away from my hometown, I was to become thoroughly familiar with the language of fear. At dark, shadowy intersections, I could cross in front of a car stopped at a traffic light and elicit the thunk, thunk, thunk of the driver – black, white, male, or female – hammering down the door locks. On less traveled streets after dark, I grew accustomed to but never comfortable with people crossing to the other side of the street rather than pass me. Then there were the standard unpleasantries with policemen, doormen, bouncers, cabdrivers, and others whose business it is to screen out troublesome individuals before there is any nastiness.
I moved to New York nearly two years ago and I have remained an avid night walker. In central Manhattan, the near-constant crowd cover minimizes tense one-on-one street encounters. Elsewhere – in SoHo, for example, where sidewalks are narrow and tightly spaced buildings shut out the sky –
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things can get very taut indeed.
After dark, on the warrenlike streets of Brooklyn where I live, I often see women who fear the worst from me. They seem to have set their faces on neutral, and with their purse straps strung across their chests bandolier-style, they forge ahead as though bracing themselves against being tackled. I understand, of course, that the danger they perceive is not a hallucination. Women are particularly vulnerable to street violence, and young black males are drastically overrepresented among the perpetrators of that violence. Yet these truths are no solace against the kind of alienation that comes of being ever the suspect, a fearsome entity with whom pedestrians avoid making eye contact.
It is not altogether clear to me how I reached the ripe old age of twenty-two without being conscious
of the lethality nighttime pedestrians attributed to me. Perhaps it was because in Chester, Pennsylvania, the small, angry industrial town where I came of age in the 1960s, I was scarcely noticeable against a backdrop of gang warfare, street knifings, and murders. I grew up one of the good boys, had perhaps a half-dozen fistfights. In retrospect, my shyness of combat has clear sources.
As a boy, I saw countless tough guys locked away; I have since buried several, too. They were babies, really – a teenage cousin, a brother of twenty-two, a childhood friend in his mid-twenties – all gone down in episodes of bravado played out in the streets. I came to doubt the virtues of intimidation early on. I chose, perhaps unconsciously, to remain a shadow – timid, but a survivor.
The fearsomeness mistakenly attributed to me in public places often has a perilous flavor. The most frightening of these confusions occurred in the late 1970s and early 1980s, when I worked as a journalist in Chicago. One day, rushing into the office of a magazine I was writing for with a deadline
story in hand, I was mistaken for a burglar. The office manager called security and, with an ad hoc posse, pursued me through the labyrinthine halls, nearly to my editor's door. I had no way of proving who I was. I could only move briskly toward the company of someone who knew me.
Another time I was on assignment for a local paper and killing time before an interview. I entered a jewelry store on the city's affluent Near North Side. The proprietor excused herself and returned with an enormous red Doberman pinscher straining at the end of a leash. She stood, the dog extended
toward me, silent to my questions, her eyes bulging nearly out of her head. I took a cursory look around, nodded, and bade her good night.
Relatively speaking, however, I never fared as badly as another black male journalist. He went to nearby Waukegan, Illinois, a couple of summers ago to work on a story about a murderer who was born there. Mistaking the reporter for the killer, police officers hauled him from his car at gunpoint and but for his press credentials would probably have tried to book him. Such episodes are not uncommon. Black men trade tales like this all the time.
Over the years, I learned to smother the rage I felt at so often being taken for a criminal. Not to do so would surely have led to madness. I now take precautions to make myself less threatening. I move about with care, particularly late in the evening. I give a wide berth to nervous people on subway platforms during the wee hours, particularly when I have exchanged business clothes for jeans. If I happen to be entering a building behind some people who appear skittish, I may walk by, letting them clear the lobby before I return, so as not to seem to be following them. I have been calm and extremely
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congenial on those rare occasions when I've been pulled over by the police.
And on late-evening constitutionals I employ what has proved to be an excellent tension-reducing measure: I whistle melodies from Beethoven and Vivaldi and the morepopular classical composers. Even steely New Yorkers hunching toward nighttime destinations seem to relax, and occasionally they even join in the tune. Virtually everybody seems to sense that a mugger wouldn’t be warbling bright, sunny selections from Vivaldi's Four Seasons. It is my equivalent of the cowbell that hikers wear when they know they are in bear country.
1. What is the meaning of the word “affluent” in the context of paragraph 1?(A) busy(B) dangerous(C) popular(D) wealthy
2. Which is the purpose for the use of dashes in paragraph 1?(A) add detail(B) create emphasis(C) provide contrast(D) signify a list
3. Which is illustrated through, “…I was surprised, embarrassed and dismayed all at once,” in paragraph 2?(A) juxtaposition(B) paradox(C) parallel structure(D) repetition
4. Which is the purpose of, “Another time…” in paragraph 9?(A) create atmosphere(B) illustrate voice(C) indicate foreshadowing(D) provide transition
5. Which is illustrated through, “… her eyes bulging nearly out of her head…” in paragraph 9?(A) hyperbole(B) metaphor(C) pun(D) satire
6. Which word describes the speaker in paragraph 11?
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(A) adaptive(B) apologetic(C) embarrassed(D) regretful
7. Which is illustrated through, “And on late-evening constitutionals…” in paragraph 12?(A) call to action(B) closing by return(C) summary(D) thesis restatement
8. Which is illustrated through, “It is my equivalent of the cowbell that hikers wear when they know they are in bear country,” in paragraph 12?(A) allegory(B) analogy(C) climax(D) complication
9. Identify the tone of the essay. Discuss how this tone is developed through two references.
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To which senses does this essay appeal? Explain, giving examples of at least three senses:
Sense Example from Essay
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10. Who is the intended audience for this essay?_____________________________________________________________________________________
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Viewing/Listening - Theatre
How does the editing process work?
Background: The musical ‘Hamilton’ has become a huge success. It tells the story of the first Secretary of the Treasury, Alexander Hamilton and his rise from orphan immigrant to revolutionary hero and secretary to George Washington, to his role as Secretary of the Treasury, to his downfall due his role in Americas first sexual scandal, the loss of his son and finally, his death at the hands of Aaron Burr, a man who was Vice President at the time of the duel. This musical is told in a mix of forms, from traditional ballads, to brit pop stylings to rap and hip hop.
Purpose of this activity:To examine the development process, including first draft to final draft and how a character can be introduced and developed. We will watch two videos. The first is the lyric and story writer Lin Manuel Miranda presenting his first draft of the opening song at The White House: Evening of Poetry, Music and the Spoken Word in 2009. We will then watch the staged opening of the musical as performed at the Grammy Awards in 2016 by the Original Broadway Cast (don’t worry – you don’t need to know any of the characters. It is the opening number and the audience is yet to learn who everyone is!).
2009 Performance: https://www.youtube.com/watch?v=WNFf7nMIGnE2016 Performance: http://www.theverge.com/2016/2/15/11010890/hamilton-lin-manuel-miranda-grammys-2016
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Questions:1. What impression did you get from the cast of the 2016 version? What are they trying to achieve
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2. Is it effective having several characters introduce the main character? Why or why not? What does this introduction do to help introduce the other characters?
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Personal response: In personal response format, respond to the following quote and explain it applies to your life. (10)
“Look around, look around – how lucky we are to be alive right now!” (‘Hamilton’ lyric, Lin-Manuel Miranda)
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REPRESENTING
Using whichever visual format is your preference, create a visual that represents you in the future. Ensure your visual is appropriately balanced, has a clear message and represents that facet – your plans for your life.
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Analytical Essay
Responding in a five paragraph analytical essay, answer the following question using one of the pieces in this unit.
Our identity is often formed by our history, how others perceive us and how our experiences influence our decisions. How has the identity of a main person or character in one of the pieces we have studied been developed? You may wish to refer to character development, setting, tone, perspective, thesis or another term appropriate to your selection choice.
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