Anthology Assignment

I am attaching pictures of what the professor wants. Please Make sure the paper is done
simple as possible; including the vocabulary which should be super
simple. Please also look at the message from the picture and get back to
me about which theme you will be using and also five texts as well.
please send me those two so i can give it to the prof for approval.over 5000 wordsAPAEN 102 Anthology Project: The Introduction
Although there is no format or formula for putting the Introduction together, you will be
graded according to the following elements. I suggest that you write an introductory
paragraph stating how your Anthology was put together, including how and why you
chose each text. Give all text names, with properly capitalized titles and author’s names.
Try to answer the questions I ask on the assignment instruction sheet, in whatever
order makes sense to you. Say something about why and how you chose each text,
and how it contributes to your overall theme, or offers a variation on your theme.
For the bulk of the Introduction, write at least one paragraph of analysis of each text,
using quotes and examples to support your analysis. Then write a concluding paragraph
wrapping it all up.
Analysis:
60%
Your Introduction needs to be heavily focused on ANALYZING your texts: not
summarizing, but analyzing. I will read each of your texts, so you do not need to
summarize them; instead, focus on describing and explaining how each writer
uses literary devices and elements. For the poems and short stories, discuss such
things as metaphors, similes, imagery, characters, plot, setting, and theme. Use the
handout sheets that I have given you to write your analysis. For your 3 essays,
you need to say what type of essay each one is, and explain/describe any literary
elements the writer has used, such as imagery or figures of speech, as well as
identifying the major theme in each essay.
Grammar/Spelling/Punctuation: 20%
Grammar counts in your Introduction, so use spell and grammar check functions
in your writing, proofread carefully for errors, and make sure you properly
punctuate: all titles need to be in double quotation marks (“The Lottery,” for
example, or “My Last Duchess”) and must be capitalized properly. All author and
character names and titles need to be spelled and punctuated properly.
PROOFREAD YOUR WORK!!!
Quotes from Texts:
20%
Quoting from some of your texts is necessary as you analyze them. Do not over-
use quotes (don’t use too many!). I will be grading you on the proper use of
quotations: introduce each one, properly use punctuation and cite each one, then
explain/integrate the quote.
The Final Product
The book itself should be composed of print-outs of all your texts. The organization of
your book should be as follows:
A cover with an illustration and an original title
Table of Contents listing titles and author names
In
(Copies)
The Texts, including your own original text
Proper pagination (page numbers for everything)
Works Cited list
You will be submitting your book in hard copy only, emailed versions will not be
accepted, as your original artwork needs to be done in hard copy and you are responsible
for printing out all material. You will be working in editorial groups on your project, and
sharing texts and ideas with your classmates. NO ONLINE SOURCES/TEXTS
ALLOWED (unless approved by me)!
(Legii Published by the Author)
Due Dates:
: Introduction of Assignment
Themes due today; library/text searching
first 5 texts due today, work in groups.
: next 4 texts due today; work on Introductions
Your Introduction is due today. Writing Center
class visit.
Original texts due today
Continue working on project; Works Cited lists.
Anthologies due today, in my office
ENGL 102
Anthology Assignment
For this written assignment, you will be creating a small book-an anthology, which is a
collection of texts written by different authors. Your anthology should be organized
around a theme of some type possible themes include (but are not limited to)
technology, work, love and lust, death and dying, the family, childhood, motherhood,
fatherhood, crime, war, peace, protest and rebellion, art, religion, popular culture, horror
or science fiction. You could also choose an issue, such as gay rights, feminism,
immigration, the American Dream, race, the death penalty, education, etc. Each text in
the anthology should relate to the theme in some way. Your anthology should include 3
short stories, 3 poems, 3 essays, and one text written by you (either a short story or an
essay), for a total of at least 10 separate texts. Each text must be written by a different
author. You are free to include more than 10 texts in your Anthology. Do not choose
any texts we have studied together as a class. You will need to find and read texts on
your own. You will be writing an Introduction, where you explain your thoughts,
observations, and analysis of the texts, and explain why you have chosen them. You will
also be including in the anthology one text of your own—either a short story or an essay.
You will also create a table of contents for this “book.” So, your original writing for the
anthology will be significant. We will be spending time in the library and at the Writing
Center to work on this project. You will receive a letter grade for your work-here’s the
breakdown of the grading:
80% The Introduction. This should be an essay of at least 2000 words (at least eight
double-spaced pages) where you discuss and analyze the texts you have selected and the
process of choosing them. Think of the Introduction as a long essay where you introduce
your reader to your book. Some possible questions to cover in the Introduction include:
how did this collection of texts come together? What was the process, and how did you
find them? How did you make your selections? What did you leave out, and why? What
were some of the tough decisions? What did you learn in this process? Why did you
choose the arrangement of texts that you did? Which piece is so noteworthy that you
would want the whole class to read it, and why is it so good? How does each text relate
differently to your theme? : If you were to teach the EN 102 course, this is the book you
would use. Which texts would you want to teach, and why? You will need to talk at
length about the literary elements of each text. Please do not restrict yourself to these
questions, and you must refer specifically to all of the texts included in your book (say
something about each text). You must quote from your texts in the Introduction–not all
of them, but quote from at least 7.
20% Your own work. This must be either a short story or an essay-no poems. You
may choose to write a short memoir, a story about and from your life, or you may choose
to write an essay about your theme. It should fit thematically with the other texts, and be
a significant piece of work (at least 3 typed double-spaced pages).

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4 paragraphs

** Please re-read the two stories posted below and write a simple compare/contrast response. You should have at least two comparative paragraphs and two that contrast. Please email me if you have any questions.Stockings by Tim O’BrienHenry Dobbins was a good man, and a superb soldier, but sophistication was not his strong suit. The ironies went beyond him. In many ways he was like America itself, big and strong, full of good intentions, a roll of fat jiggling at his belly, slow of foot but always plodding along, always there when you needed him, a believer in the virtues of simplicity and directness and hard labor. Like his country, too, Dobbins was drawn toward sentimentality.Even now, twenty years later, I can see him wrapping his girlfriend’s pantyhose around his neck before heading out on ambush.It was his one eccentricity. The pantyhose, he said, had the properties of a good-luck charm. He liked putting his nose into the nylon and breathing in the scent of his girlfriend’s body, he liked the memories this inspired, he sometimes slept with the stockings up against his face, the way an infant sleeps with a magic blanket, secure and peaceful. More than anything, though, the stockings were a talisman for him. They kept him safe. They gave access to a spiritual world, where things were soft and intimate, a place where he might someday take his girlfriend to live. Like many of us in Vietnam, Dobbins felt the pull of superstition, and he believed firmly and resolutely in the protective power of the stockings. They were like body armor, he thought. Whenever we saddled up for a late-night ambush, putting on our helmets and flak jackets, Henry Dobbins would make a ritual out of arranging the nylons around his neck, carefully tying a knot, draping the two leg sections over his left shoulder. There were some jokes, of course, but we came to appreciate the mystery of it all. Dobbins was invulnerable. Never wounded, never a scratch. In August, he tripped a Bouncing Betty, which failed to detonate. And a week later he got caught in the open during a fierce little firefight, no cover at all, but he just slipped the pantyhose over his nose and breathed deep and let the magic do its work.It turned us into a platoon of believers. You don’t dispute facts.But then, near the end of October, his girlfriend dumped him. It was a hard blow. Dobbins went quiet for a while, staring down at her letter, then after a time he took out the stockings and tied them around his neck as a comforter.“No sweat,” he said. “I still love her. The magic doesn’t go away.” [It was a relief for all of us.]The White Girl by Luis Alberto UrreraShort was a tagger from down around 24th St. He hung with the Locos de Veinte set, though he freelanced as much as he banged. His tag was a cloudy blue/silver goth “II-SHT” and it went out on freight trains and trucks all over the fucking place. His tag was, like, sailing through Nebraska or some shit like that. Out there, famous, large.Short lived with his pops in that rundown house on W 20th. That one with the black iron spears for a fence. The old timer feeds shorties some times when they don’t have anywhere to go—kids like Lil Wino and Jetson. Short’s pops is a veterano. Been in jail a few times, been on the street, knows what it’s like. He’d like Short to stay in school, but hey, what you gonna do? The vatos do what they got to do.Short sometimes hangs in the backyard. He’s not some nature pussy or nothing, but he likes the yard. Likes the old orange tree. The nopal cactus his pops cuts up and fries with eggs. Short studies shit like birds and butterflies, tries to get their shapes and their colors in his tag book. Hummingbirds.Out behind their yard is that little scrapyard on 23rd. That one that takes up a block one way and about two blocks the other. Old, too. Cars in there been rusting out since ’68. Gutiérrez, the old dude runs the place, he’s been scrapping the same hulks forever. Chasing kids out of there with a BB gun. Ping! Right in the ass!Short always had too much imagination. He was scared to death of Gutiérrez’s little kingdom behind the fence. All’s you could see was the big tractor G used to drag wrecks around. The black oily crane stuck up like the stinger of the monsters in the sci-fi movies on channel 10. The Black Scorpion and shit.The fence was ten feet tall, slats. Had some discolored rubber stuff woven in, like pieces of lawn furniture or something. So Short could only see little bits of the scary wrecks in there if he pressed his eye to the fence and squinted.One day he just ran into the fence with his bike and one of those rotten old slats fell out and there it was—a passageway into the yard. He looked around, made sure Pops wasn’t watching, listened to make sure G wasn’t over there, and he slipped through.Damn. There were wrecked cars piled on top of each other. It was eerie. Crumpled metal. Torn-off doors. Busted glass. He could see stars in the wind shields where the heads had hit. Oh man—peeps died in here, Homes.Short crept into musty dead cars and twisted the steering wheels.He came to a crunched ’71 Charger. The seats were twisted and the dash was ripped out. Was that blood on the old seat? Oh man. He ran his hand over the faded stain. BLOOD.He found her bracelet under the seat. Her wrist must have been slender. It was a little gold chain with a little blue stone heart. He held it in his palm. Chick must have croaked right here.He stared at the starred windshield. The way it was pushed out around the terrible cracks. Still brown. More blood. And then the hair.Oh shit—there was hair in strands still stuck to the brown stains and the glass. Long blonde strands of hair. They moved in the breeze. He touched them. He pulled them free. He wrapped them around his finger.That night, he rubbed the hairs over his lips. He couldn’t sleep. He kept thinking of the white girl. She was dead. How was that possible? How could she be dead?He held the bracelet against his face. He lay with the hair against his cheek.When he went out to tag two nights later, Short aborted his own name. Die Hard and Arab said, “Yo, what’s wrong with you?”But he only said, “The white girl.”“What white girl? Yo?”But he stayed silent. He uncapped the blue. He stood in front of the train car. THE WHITE GIRL. He wrote it. It went out to New York. He sent it out to Mexico, to Japan on a container ship. THE WHITE GIRL.He wrote it and wrote it. He sent it out to the world. He prayed with his can. He could not stop.THE WHITE GIRL.THE WHITE GIRL.THE WHITE GIRL.

history assign

Your discussion of the topic should be a minimum of 350 words, include accurate content, critical analysis, specific examples, two meaningful (5 word max) cited quotes from your textbook in APA in-text parenthetical citation format, proper grammar, punctuation, and capitalization, and at the end of your discussion include the reference for your textbook in APA format and sign off with your preferred name.Discussion Rubric (attached)Discussion Sample (attached)Discussion Topic:Explain the rise in consumerism during the 1920s. How did Americans respond to the growth of the economy during the 1920s? Did everyone share in the new prosperity? How did increasing consumerism contribute to the stock market crash in 1929 and the Great Depression of the 1930’s?chapter 24 is attachedAll the information you need is in the attached US chapter 24!Chapter 24 | The Jazz Age: Redefining the Nation, 1919-1929
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CHAPTER 24
The Jazz Age: Redefining the
Nation, 1919-1929
Figure 24.1 The illustrations for F. Scott Fitzgerald’s Tales of the Jazz Age, drawn by John Held, Jr., epitomized the
carefree flapper era of the 1920s.
Chapter Outline
24.1 Prosperity and the Production of Popular Entertainment
24.2 Transformation and Backlash
24.3 A New Generation
24.4 Republican Ascendancy: Politics in the 1920s
Introduction
Following the hardships of the immediate postwar era, the United States embarked upon one of the most
prosperous decades in history. Mass production, especially of the automobile, increased mobility and
fostered new industries. Unemployment plummeted as businesses grew to meet this increased demand.
Cities continued to grow and, according to the 1920 census, a majority of the population lived in urban
areas of twenty-five hundred or more residents.
Jazz music, movies, speakeasies, and new dances dominated the urban evening scene. Recent immigrants
from southern and eastern Europe, many of them Catholic, now participated in the political system. This
challenged rural Protestant fundamentalism, even as quota laws sought to limit new immigration patterns.
The Ku Klux Klan rose to greater power, as they protested not only the changing role of African Americans
but also the growing population of immigrant, Catholic, and Jewish Americans.
This mixture of social, political, economic, and cultural change and conflict gave the decade the nickname
the “Roaring Twenties” or the “Jazz Age.” The above illustration (Figure 24.1), which graced the cover of
F. Scott Fitzgerald’s Tales of the Jazz Age, embodies the popular view of the 1920s as a nonstop party, replete
with dancing, music, flappers, and illegal drinking.
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Chapter 24 | The Jazz Age: Redefining the Nation, 1919-1929
24.1 Prosperity and the Production of Popular Entertainment
By the end of this section, you will be able to:
• Discuss the role of movies in the evolution of American culture
• Explain the rise of sports as a dominant social force
• Analyze the ways in which the automobile, especially the Model T, transformed
American life
In the 1920s, prosperity manifested itself in many forms, most notably in advancements in entertainment
and technology that led to new patterns of leisure and consumption. Movies and sports became
increasingly popular and buying on credit or “carrying” the debt allowed for the sale of more consumer
goods and put automobiles within reach of average Americans. Advertising became a central institution in
this new consumer economy, and commercial radio and magazines turned athletes and actors into national
icons.
MOVIES
The increased prosperity of the 1920s gave many Americans more disposable income to spend on
entertainment. As the popularity of “moving pictures” grew in the early part of the decade, “movie
palaces,” capable of seating thousands, sprang up in major cities. A ticket for a double feature and a
live show cost twenty-five cents; for a quarter, Americans could escape from their problems and lose
themselves in another era or world. People of all ages attended the movies with far more regularity than
today, often going more than once per week. By the end of the decade, weekly movie attendance swelled
to ninety million people.
The silent movies of the early 1920s gave rise to the first generation of movie stars. Rudolph Valentino,
the lothario with the bedroom eyes, and Clara Bow, the “It Girl” with sex appeal, filled the imagination of
millions of American moviegoers. However, no star captured the attention of the American viewing public
more than Charlie Chaplin. This sad-eyed tramp with a moustache, baggy pants, and a cane was the top
Figure 24.2
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Chapter 24 | The Jazz Age: Redefining the Nation, 1919-1929
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box office attraction of his time (Figure 24.3).
Figure 24.3 Charlie Chaplin’s nickname “The Tramp” came from the recurring character he played in many of his
silent films, such as 1921’s The Kid, which starred Jackie Coogan in the title role.
In 1927, the world of the silent movie began to wane with the New York release of the first “talkie”: The
Jazz Singer. The plot of this film, which starred Al Jolson, told a distinctively American story of the 1920s.
It follows the life of a Jewish man from his boyhood days of being groomed to be the cantor at the local
synagogue to his life as a famous and “Americanized” jazz singer. Both the story and the new sound
technology used to present it were popular with audiences around the country. It quickly became a huge
hit for Warner Brothers, one of the “big five” motion picture studios in Hollywood along with Twentieth
Century Fox, RKO Pictures, Paramount Pictures, and Metro-Goldwyn-Mayer.
Southern California in the 1920s, however, had only recently become the center of the American film
industry. Film production was originally based in and around New York, where Thomas Edison first
debuted the kinetoscope in 1893. But in the 1910s, as major filmmakers like D. W. Griffith looked to escape
the cost of Edison’s patents on camera equipment, this began to change. When Griffith filmed In Old
California (1910), the first movie ever shot in Hollywood, California, the small town north of Los Angeles
was little more than a village. As moviemakers flocked to southern California, not least because of its
favorable climate and predictable sunshine, Hollywood swelled with moviemaking activity. By the 1920s,
the once-sleepy village was home to a majorly profitable innovative industry in the United States.
AUTOMOBILES AND AIRPLANES: AMERICANS ON THE MOVE
Cinema was not the only major industry to make great technological strides in this decade. The 1920s
opened up new possibilities of mobility for a large percentage of the U.S. population, as automobile
manufacturers began to mass produce what had once been a luxury item, and daring aviators both
demonstrated and drove advancements in aircraft technology. The most significant innovation of this era
was Henry Ford’s Model T Ford, which made car ownership available to the average American.
Ford did not invent the automobile—the Duryea brothers in Massachusetts as well as Gottlieb W. Daimler
and Karl Friedrich Benz in Germany were early pioneers. By the early twentieth century, hundreds of car
manufacturers existed. However, they all made products that were too expensive for most Americans.
Ford’s innovation lay in his focus on using mass production to manufacture automobiles; he
revolutionized industrial work by perfecting the assembly line, which enabled him to lower the Model
T’s price from $850 in 1908 to $300 in 1924, making car ownership a real possibility for a large share
of the population (Figure 24.4). As prices dropped, more and more people could afford to own a car.
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Chapter 24 | The Jazz Age: Redefining the Nation, 1919-1929
Soon, people could buy used Model Ts for as little as five dollars, allowing students and others with low
incomes to enjoy the freedom and mobility of car ownership. By 1929, there were over twenty-three million
automobiles on American roads.
Figure 24.4 This advertisement for Ford’s Model T ran in the New Orleans Times Picayune in 1911. Note that the
prices have not yet dropped far from their initial high of $850.
The assembly line helped Ford reduce labor costs within the production process by moving the product
from one team of workers to the next, each of them completing a step so simple they had to be, in Ford’s
words, “no smarter than an ox” (Figure 24.5). Ford’s reliance on the moving assembly line, scientific
management, and time-motion studies added to his emphasis on efficiency over craftsmanship.
Figure 24.5 In this image from a 1928 Literary Digest interview with Henry Ford, workers on an assembly line
produce new models of Ford automobiles.
Ford’s emphasis on cheap mass production brought both benefits and disadvantages to its workers. Ford
would not allow his workers to unionize, and the boring, repetitive nature of the assembly line work
generated a high turnover rate. However, he doubled workers’ pay to five dollars a day and standardized
the workday to eight hours (a reduction from the norm). Ford’s assembly line also offered greater equality
than most opportunities of the time, as he paid white and black workers equally. Seeking these wages,
many African Americans from the South moved to Detroit and other large northern cities to work in
factories.
Ford even bought a plot of land in the Amazonian jungle twice the size of Delaware to build a factory
town he called Fordlandia. Workers there rejected his midwestern Puritanism even more than his factory
discipline, and the project ended in an epic failure. In the United States, however, Ford shaped the nation’s
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mode of industrialism—one that relied on paying decent wages so that workers could afford to be the
consumers of their own products.
The automobile changed the face of America, both economically and socially. Industries like glass, steel,
and rubber processing expanded to keep up with auto production. The oil industry in California,
Oklahoma, and Texas expanded, as Americans’ reliance on oil increased and the nation transitioned from
a coal-based economy to one driven by petroleum. The need for public roadways required local and state
governments to fund a dramatic expansion of infrastructure, which permitted motels and restaurants to
spring up and offer new services to millions of newly mobile Americans with cash to spend. With this new
infrastructure, new shopping and living patterns emerged, and streetcar suburbs gave way to automobile
suburbs as private automobile traffic on public roads began to replace mass transit on trains and trolleys.
The 1920s not only witnessed a transformation in ground transportation but also major changes in air
travel. By the mid-1920s, men—as well as some pioneering women like the African American stunt pilot
Bessie Coleman (Figure 24.6)—had been flying for two decades. But there remained doubts about the
suitability of airplanes for long-distance travel. Orville Wright, one of the pioneers of airplane technology
in the United States, once famously declared, “No flying machine will ever fly from New York to Paris
[because] no known motor can run at the requisite speed for four days without stopping.” However, in
1927, this skepticism was finally put to rest when Charles Lindbergh became the first person to fly solo
across the Atlantic Ocean, flying from New York to Paris in thirty-three hours (Figure 24.6).
Figure 24.6 Aviator Charles Lindbergh stands in front of the Spirit of St Louis (a), the plane in which he flew from
New York to Paris, France, in 1927. Because American flight schools barred black students, stunt pilot Bessie
Coleman (b), the daughter of Texas sharecroppers, taught herself French to earn her pilot’s license overseas.
Lindbergh’s flight made him an international hero: the best-known American in the world. On his return,
Americans greeted him with a ticker-tape parade—a celebration in which shredded paper thrown from
surrounding buildings creates a festive, flurry effect. His flight, which he completed in the monoplane
Spirit of St. Louis, seemed like a triumph of individualism in modern mass society and exemplified
Americans’ ability to conquer the air with new technology. Following his success, the small airline
industry began to blossom, fully coming into its own in the 1930s, as companies like Boeing and Ford
developed airplanes designed specifically for passenger air transport. As technologies in engine and
passenger compartment design improved, air travel became more popular. In 1934, the number of U.S.
domestic air passengers was just over 450,000 annually. By the end of the decade, that number had
increased to nearly two million.
Technological innovation influenced more than just transportation. As access to electricity became more
common and the electric motor was made more efficient, inventors began to churn out new and more
complex household appliances. Newly developed innovations like radios, phonographs, vacuum cleaners,
washing machines, and refrigerators emerged on the market during this period. While expensive, new
consumer-purchasing innovations like store credit and installment plans made them available to a larger
segment of the population. Many of these devices promised to give women—who continued to have
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Chapter 24 | The Jazz Age: Redefining the Nation, 1919-1929
primary responsibility for housework—more opportunities to step out of the home and expand their
horizons. Ironically, however, these labor-saving devices tended to increase the workload for women by
raising the standards of domestic work. With the aid of these tools, women ended up cleaning more
frequently, washing more often, and cooking more elaborate meals rather than gaining spare time.
Despite the fact that the promise of more leisure time went largely unfulfilled, the lure of technology as
the gateway to a more relaxed lifestyle endured. This enduring dream was a testament to the influence
of another growing industry: advertising. The mass consumption of cars, household appliances, readyto-wear clothing, and processed foods depended heavily on the work of advertisers. Magazines like
Ladies’ Home Journal and The Saturday Evening Post became vehicles to connect advertisers with middleclass consumers. Colorful and occasionally provocative print advertisements decorated the pages of these
publications and became a staple in American popular culture (Figure 24.7).
Figure 24.7 This advertisement for Palmolive soap, which appeared in Ladies’ Home Journal in 1922, claimed that
the soap’s “moderate price is due to popularity, to the enormous demand which keeps Palmolive factories working
day and night” and so “the old-time luxury of the few may now be enjoyed the world over.”
The form of the advertisements, however, was not new. These colorful print ads were merely the modern
incarnations of an advertising strategy that went back to the nineteenth century. The new medium for
advertisers in the 1920s, the one that would reach out to consumers in radically new and innovative ways,
was radio.
THE POWER OF RADIO AND THE WORLD OF SPORTS
After being introduced during World War I, radios became a common feature in American homes of the
1920s. Hundreds of radio stations popped up over the decade. These stations developed and broadcasted
news, serial stories, and political speeches. Much like print media, advertising space was interspersed with
entertainment. Yet, unlike magazines and newspapers, advertisers did not have to depend on the active
participation of consumers: Advertisers could reach out to anyone within listening distance of the radio.
On the other hand, their broader audience meant that they had to be more conservative and careful not to
offend anyone.
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Chapter 24 | The Jazz Age: Redefining the Nation, 1919-1929
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Click and Explore
Listen to a recording of a broadcast (http://openstaxcollege.org/l/15Showboat) of
the “WLS Showboat: “The Floating Palace of Wonder,” a variety show from WLS
Chicago, a radio station run by Sears Roebuck and Co. What does the clip tell you
about the entertainment of the 1920s?
The power of radio further sped up the processes of nationalization and homogenization that were
previously begun with the wide distribution of newspapers made possible by railroads and telegraphs. Far
more effectively than these print media, however, radio created and pumped out American culture onto
the airwaves and into the homes of families around the country. Syndicated radio programs like Amos ‘n’
Andy, which began in the late 1920s, entertained listeners around the country—in the case of the popular
Amos ‘n’ Andy, it did so with racial stereotypes about African Americans familiar from minstrel shows of
the previous century. No longer were small corners of the country separated by their access to information.
With the radio, Americans from coast to coast could listen to exactly the same programming. This had the
effect of smoothing out regional differences in dialect, language, music, and even consumer taste.
Radio also transformed how Americans enjoyed sports. The introduction of play-by-play descriptions of
sporting events broadcast over the radio brought sports entertainment right into the homes of millions.
Radio also helped to popularize sports figures and their accomplishments. Jim Thorpe, who grew up in
the Sac and Fox Nation in Oklahoma, was known as one of the best athletes in the world: He medaled
in the 1912 Olympic Games, played Major League Baseball, and was one of the founding members of
the National Football League. Other sports superstars were soon household names. In 1926, Gertrude
Ederle became the first woman to swim the English Channel. Helen Wills dominated women’s tennis,
winning Wimbledon eight times in the late 1920s (Figure 24.8), whereas “Big Bill” Tilden won the national
singles title every year from 1920 to 1925. In football, Harold “Red” Grange played for the University of
Illinois, averaging over ten yards per carry during his college career. The biggest star of all was the “Sultan
of Swat,” Babe Ruth, who became America’s first baseball hero (Figure 24.8). He changed the game of
baseball from a low-scoring one dominated by pitchers to one where his hitting became famous. By 1923,
most pitchers intentionally walked him. In 1924, he hit sixty homeruns.
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Chapter 24 | The Jazz Age: Redefining the Nation, 1919-1929
Figure 24.8 Babe Ruth (a) led the New York Yankees to four World Series championships. In this 1921 photograph,
he stands outside of the New York Yankees dugout. Helen Wills (b) won a total of thirty-one Grand Slam titles in her
career, including eight singles titles at Wimbledon from 1927 to 1938. (credit a: modification of work by Library of
Congress)
24.2 Transformation and Backlash
By the end of this section, you will be able to:
• Define nativism and analyze the ways in which it affected the politics and society of the
1920s
• Describe the conflict between urban Americans and rural fundamentalists
• Explain the issues in question in the Scopes trial
While prosperous, middle-class Americans found much to celebrate about the new era of leisure and
consumption, many Americans—often those in rural areas—disagreed on the meaning of a “good life”
and how to achieve it. They reacted to the rapid social changes of modern urban society with a vigorous
defense of religious values and a fearful rejection of cultural diversity and equality.
NATIVISM
Beginning at the end of the nineteenth century, immigration into the United States rocketed to neverbefore-seen heights. Many of these new immigrants were coming from eastern and southern Europe and,
for many English-speaking, native-born Americans of northern European descent, the growing diversity of
new languages, customs, and religions triggered anxiety and racial animosity. In reaction, some embraced
nativism, prizing white Americans with older family trees over more recent immigrants, and rejecting
outside influences in favor of their own local customs. Nativists also stoked a sense of fear over the
perceived foreign threat, pointing to the anarchist assassinations of the Spanish prime minister in 1897,
the Italian king in 1900, and even President William McKinley in 1901 as proof. Following the Bolshevik
Revolution in Russia in Nove…
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Explain why you would support or opposei. Raising the price of water while providing low rates for minimal use to help poorer families and individualsii. Provide government subsidies to encourage farmers, households, and businesses to increase their water use efficiency. Discuss.

Case Analysis: Case Studies: Lehman Brothers, British Petroleum, Monsanto, Merck, Goodyear, Perdue Farms

In the Week 3 Discussion, you selected a current business problem from the following case categories:BankingFuel and the EnvironmentGMOsFactory FarmingPharmaceuticalsGender DiscriminationIn this written assignment, you will present your work on the case analysis using selected components of an argumentative essay as described in Sections 9.1 and 9.2 of With Good Reason: A Guide to Critical Thinking (Hardy, Foster, & Zúñiga y Postigo, 2015). This written assignment will include a revised and polished version of your discussion work, the presentation and support of two premises, and an analysis of how your chosen ethical theory offers the best moral solution to the business problem in your case analysis.Using the components of the argumentative essay located in Sections 9.1 and 9.2 of With Good Reason: A Guide to Critical Thinking (Hardy, Foster, & Zúñiga y Postigo (2015), your assignment should include the following:An introduction. This is the “Problem” portion of the essay that is covered in Section 9.1: The Argumentative Essay (Hardy, Foster, & Zúñiga y Postigo, 2015). This should be an improved version of the introduction in your initial post, revised on the basis of your professor’s feedback and additional research. In this introduction you will need to (a) identify the specific issue or problem that you want to address and give an impartial presentation of the controversy, (b) articulate briefly the characteristics of the economic system that serves as the setting for the business, and (c) examine the laws that affect the operations of the business. The introduction should be one paragraph of around 200 words in length.A thesis. Start a new paragraph with a precise and clear sentence in which you state your moral position with regard to the case that you presented in your first paragraph. This is known as stating your thesis. (See the “Thesis” passage in “The Argumentative Essay” in Hardy, Foster, & Zúñiga y Postigo, 2015). The thesis you state here should be an improved version of the thesis in your initial post in the discussion, revised on the basis of your professor’s feedback and your reading of “The Argumentative Essay” indicated above.A thesis is only one sentence, so do not write a series of sentences, or a complex sentence with explanatory clauses (e.g., “because…” or “since…” or “according to Dr. Mary Expert, an economist with the Bureau of Labor statistics…”, or “a law that was ratified with 80% votes in favor…”). An example of a precise and clear thesis is this: “Factory farms are not morally justifiable” or, of course, the opposite point of view: “Factory farms are morally justifiable.” Keep in mind that your thesis in this assignment will be the basis for the argumentative essay of the Week 5 written assignment, so take your time when formulating this thesis.Ethical theory. In the same second paragraph as the thesis statement, identify the ethical theory that supports your moral position. You may choose from utilitarianism, duty ethics, or virtue ethics. Present the characteristics of the ethical theory in a broad sketch, and include citations and references in APA form. Then, apply your chosen ethical theory by explaining how it lends itself to the moral position that you are defending.Two premises. Present at least two reasons in support of your thesis and these should be presented in the form of a claim. These are called premises. Articulate each premise in one clear and grammatically correct sentence. Review Section 9.1 of With Good Reason: A Guide to Critical Thinking (Foster, Hardy, and Zúñiga y Postigo, 2015). Start a new paragraph for each.In the rest of the paragraph, support your premise by presenting an analysis of how the ethical theory lends itself to the best solution. This analysis includes articulating the characteristics(s) of the economic system at work that support the claims in your premises. It also includes examining the effects of the law(s) at work that also support the claims in your premises.Comparative analysis. In the final paragraph, analyze how this application lends itself to a solution that is superior to that offered by one of the ethical theories that you did not select. To do this, provide a clear statement describing the moral solution offered by this other theory. For example, if you chose utilitarianism to apply to your case, then you can choose from either virtue ethics or deontology for your comparative analysis. Explain in no more than three sentences what moral solution would result from the application of this other ethical theory. See the “Sample Case Analysis” for an illustration of how this would look like. Finally, analyze the strengths of the moral solution presented by your chosen ethical theory in ways that demonstrate how it is superior to the moral solution offered by the other ethical theory.Once you receive your assignment back from your professor, start working on revisions based on your professor’s feedback. This is the first step in preparing your Final Project and the details are presented on the Final Project’s prompt. You will benefit from starting your Final Project as soon as you receive your assignment back from your professor.Requirements for Your Assignment:Your assignment should be 1000 words in length, excluding the title page and reference page(s).Your examination should be both thorough and succinct. This is a combination that demands time and thought, so give yourself sufficient time to draft and revise.Your assignment should include citations, as well as a list of references. Both must be in APA form.You should draw from the sources provided in your chosen case category in the discussion this week.Also refer to Section 9.1: The Argumentative Essay and the introduction to Section 9.2: Strengthening the Argumentative Essay (intro only for the latter) from Hardy, J., Foster, C., & Zúñiga y Postigo, G. (2015).Your references should include at least two scholarly sources from your own research in the Ashford University Library, Google Scholar (this is not the same as Google), or the Stanford Encyclopedia of Philosophy. No Wikipedia articles and the like should be included in the references, nor employed to inform your paper. Also keep in mind that dictionary definitions are not references in the academic sense.Your assignment should be submitted no later than the end of Monday (11:59 pm, U.S. Mountain time).Required ResourcesAshford Course Materials (General)Hardy, J, Foster, C., & Zúñiga y Postigo, G. (2015). Section 9.1: The Argumentative Essay. In With good reason: A guide to critical thinking. Retrieved from https://content.ashford.edu/Section 9.1: The Argumentative Essay is a section of Chapter 9 of the introductory course in logic textbook that is employed in the PHI103 Informal Logic course offered at Ashford University. The link for this source will take you to a PDF format of this chapter. Section 9.1 introduces the thesis and premises in an argumentative essay, which are elements that students in this course must employ in both assignments in this course.Hardy, J, Foster, C., & Zúñiga y Postigo, G. (2015). Section 9.2: Strengthening the Argumentative Essay. In With good reason: A guide to critical thinking. Retrieved from https://content.ashford.edu/Section 9.2: Strengthening the Argumentative Essay is a section of Chapter 9 of the introductory course in logic textbook that is employed in the PHI103 Informal Logic course offered at Ashford University. The link for this source will take you to a PDF format of this chapter. For the purposes of the work for this week, it will be necessary to read only thesubsection called Clarification and Support. This subsection explains the kind of support needed in an argumentative essay for the claims offered in its premises, which students in this course must know in order to apply in discussions and both assignments.Zúñiga y Postigo, G. (2015). The moral good in three traditional ethical theories [PowerPoint Slides].This PowerPoint document covers the main characteristics of utilitarianism, deontology, and virtue ethics, and what is the moral good in each of these.Collins, K.L. (2004). Profitable gifts: a history of the Merck Mectizan donation program and its implication for international health (Links to an external site.). Perspectives in Biology and Medicine, 47 (1), 100-109. Retrieved from http://citeseerx.ist.psu.edu/viewdoc/download?doi=…Friedman, M. (1970, September 13). The social responsibility of business is to increase its profits (Links to an external site.). New York Times Magazine. Retrieved from http://umich.edu/~thecore/doc/Friedman.pdfHernando, Y., Colwell, K., & Wright, B. D. (2016). Doing well while fighting river blindness: the alignment of a corporate drug donation programme with responsibilities to shareholders (Links to an external site.). Tropical Medicine and International Health, 21(10), 1304-1310. https://onlinelibrary.wiley.com/doi/pdf/10.1111/tm…Velasquez, M. (2003). Debunking corporate moral responsibility (Links to an external site.). Retrieved from https://www.academia.edu/1235632/Debunking_corpora…