RT: #mayo 2015

Writing — «5 Paragraph Essay» — Five Paragraph Essay [PDF/Video]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> Five Paragraph Essay </font></a> - Photo: <a href="http://www.benjaminmadeira.com/search/label/essays" title="The basic components of the Five Paragraph Essay" alt="The basic components of the Five Paragraph Essay" target="_blank" style="text-decoration: none;"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/O0mO9B] The basic components of the Five Paragraph Essay.  _______________________Writing</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: The basic components of http://goo.gl/O0mO9B the Five Paragraph Essay - Dogs or cats? | ¿Perros o gatos? | #Essay #English #StudyNotes #UniversityStudies #SocialStudies </div> <br /><br />

<div class="JBMCode"> We all love to have a pet. Some people go for a bird, snake, or rodent as pet. Most people, however, decide on the more common four-legged creatures like a dog or cat. </div> <br />

<div class="citajbm"> "A dog is man's best friend." That common saying may contain some truth, but dogs are not the only animal friend whose companionship people enjoy. For many people, a cat is their best friend. Despite what dog lovers may believe, cats make excellent housepets as they are good companions, they are civilized members of the household, and they are easy to care for.</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The Five Paragraph Essay <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> People enjoy the companionship of cats :: </span></div></H2> 
<div class="citajbm"> <i>In the first place, people enjoy the companionship of cats</i>. <u><b>Many cats are affectionate</b>.</u> They will snuggle up and ask to be petted, or scratched under the chin. Who can resist a purring cat? <u><b>If they're not feeling affectionate, cats are generally quite playful</b>.</u> They love to chase balls and feathers, or just about anything dangling from a string. They especially enjoy playing when their owners are participating in the game. <u><b>Contrary to popular opinion, cats can be trained</b>.</u> Using rewards and punishments, just like with a dog, a cat can be trained to avoid unwanted behavior or perform tricks. Cats will even fetch! </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Cats are civilized members of the household :: </span></div></H2> 
<div class="citajbm"> <i>In the second place, cats are civilized members of the household</i>. <u><b>Unlike dogs, cats do not bark or make other loud noises</b>.</u> Most cats don't even meow very often. They generally lead a quiet existence. <u><b>Cats also don't often have "accidents."</b></u> Mother cats train their kittens to use the litter box, and most cats will use it without fail from that time on. Even stray cats usually understand the concept when shown the box and will use it regularly. <u><b>Cats do have claws, and owners must make provision for this</b>.</u> A tall scratching post in a favorite cat area of the house will often keep the cat content to leave the furniture alone. As a last resort, of course, cats can be declawed. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> One of the most attractive features of cats as housepets is their ease of care :: </span></div></H2> 
<div class="citajbm"> <i>Lastly, one of the most attractive features of cats as housepets is their ease of care</i>. <u><b>Cats do not have to be walked</b>.</u> They get plenty of exercise in the house as they play, and they do their business in the litter box. Cleaning a litter box is a quick, painless procedure. <u><b>Cats also take care of their own grooming</b>.</u> Bathing a cat is almost never necessary because under ordinary circumstances cats clean themselves. Cats are more particular about personal cleanliness than people are. <u><b>In addition, cats can be left home alone for a few hours without fear</b>.</u> Unlike some pets, most cats will not destroy the furnishings when left alone. They are content to go about their usual activities until their owners return.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Cats are low maintenance, civilized companions. People who have small living quarters or less time for pet care should appreciate these characteristics of cats. However, many people who have plenty of space and time still opt to have a cat because they love the cat personality. In many ways, cats are the ideal housepet. </div> <br />

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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> The basic components of the Five Paragraph Essay :: </strong> </span></span></div> 
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<div style="text-align: center"><span style="color: darkgreen"><span style="font-size: 12pt; color: #FFFF00; background-color: #F52887; line-height:13pt"> Fuente: Youtube, Servicios de Internet | Source: Youtube, Video hosting service </span></span></div> <br /> 
• <strong> <a href="http://www.evergreen.edu/washingtoncenter/institute13/2013institute/nsilc2013docs/sessions2/iif_fiveparagrph.pdf?origin=http://www.benjaminmadeira.com/2015/02/integration.html" title="Michelle Tremmel, What to Make of the Five-Paragraph Theme, PDF" alt="Michelle Tremmel, What to Make of the Five-Paragraph Theme, PDF" target="_blank" style="text-decoration: none;"><font color="#FF4000">Michelle Tremmel writes: What to Make of the Five-Paragraph Theme: History of the Genre and Implications</font></a>. </strong> <br />

• <strong> <a href="http://www.csun.edu/~krowlands/Content/Academic_Resources/Composition/Form/Smith-5%20Paragraph%20essay.pdf?origin=http://www.benjaminmadeira.com/2015/02/integration.html" title="Kerri Smith Defend the Five-Paragraph Essay, PDF" alt="Kerri Smith Defend the Five-Paragraph Essay, PDF" target="_blank" style="text-decoration: none;"><font color="#FF4000">Kerri Smith Defend the Five-Paragraph Essay - English Journal, Vol. 95, No. 4, March 2006 - Fairleigh Dickinson University, New Jersey</font></a>. </strong> <br />

• <strong> <a href="http://www.readingwritinghotline.edu.au/wp-content/uploads/writing_longer_essays.pdf?origin=http://www.benjaminmadeira.com/2015/02/integration.html" title="WRITING LONGER ESSAYS, PDF" alt="WRITING LONGER ESSAYS, PDF" target="_blank" style="text-decoration: none;"><font color="#FF4000"> Support Materials and Exercises for WRITING LONGER ESSAYS</font></a>. </strong> <br />
 <br />

<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> FURTHER READING: </span> <br /><br />

• [1] APA (2012). “<a href="http://www2.eit.ac.nz/library/OnlineGuides/2012%20APA%20Referencing%206th%20Edition.pdf?origin=http://www.benjaminmadeira.com/2015/05/essay.html" title="The American Psychological Association" alt="The American Psychological Association" target="_blank" style="text-decoration: none;"><font color="#FF4000">The American Psychological Association</font></a>.” 6th ed. (<a href="http://www2.indwes.edu/ocls/apa/apa6eguide.pdf?origin=http://www.benjaminmadeira.com/2015/05/essay.html" title="The American Psychological Association" alt="The American Psychological Association" target="_blank" style="text-decoration: none;"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [2] CHICAGO Citation Style (2010). “<a href="http://lib.trinity.edu/research/citing/Chicago_Author_Date_16th_ed.pdf?origin=http://www.benjaminmadeira.com/2015/05/essay.html" title="The Chicago Citation Style" alt="The Chicago Citation Style" target="_blank" style="text-decoration: none;"><font color="#FF4000">The Chicago Citation Style</font></a>.” 16th ed. (<a href="http://www.okanagan.bc.ca/Assets/Departments+%28Administration%29/Library/PDFs/chicago.pdf?origin=http://www.benjaminmadeira.com/2015/05/essay.html" title="The Chicago Citation Style" alt="The Chicago Citation Style" target="_blank" style="text-decoration: none;"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [3] MLA (2009). “<a href="http://usc.ac.ir/IPPWebV1C035/TemplateFileFolder/11-20-2012/OriginalFolder/14920c09-d3d0-401e-a88f-3480925f9aa6_Handbook_for_Writers7th_Edition.pdf?origin=http://www.benjaminmadeira.com/2015/05/essay.html" title="Handbook for Writers of Research Papers" alt="Handbook for Writers of Research Papers" target="_blank" style="text-decoration: none;"><font color="#FF4000">Handbook for Writers of Research Papers</font></a>.” 7th ed. (Publishing and Editing) <br /> 
</div>

Writing — «5 Paragraph Essay» — Five Paragraph Essay [PDF/Video]

Five Paragraph Essay - Photo: illustration — [http://goo.gl/O0mO9B] The basic components of the Five Paragraph Essay. __...

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CulturalStudies — «Out of Ireland» — The Story of Irish Emigration to America

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<span> <a href="#mp4" style="text-decoration: none;"><font color="#301ce2"> The Story of Irish Emigration to America </font></a> - Photo: <a href="http://www.benjaminmadeira.com/search/label/cultural-studies" title="Out of Ireland: The Story of Irish Emigration to America" alt="Out of Ireland: The Story of Irish Emigration to America" target="_blank" style="text-decoration: none;"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/Nh4Yrg] Out of Ireland: The Story of Irish Emigration to America.  _______________________Immigration</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Video http://goo.gl/Nh4Yrg Out of Ireland: The Story of Irish Emigration to America | #Immigration #Irish #SocialStudies #CulturalStudies #EthnicRelations #Ethnology #Americanization #Emigration #Immigrants #History #Ethnicity #Nationalism #IrishAmericans #Immigration #SocialStudies #CulturalStudies #Society #Culture </div> <br /><br />

<div class="JBMCode"> "Passage to the United States seems to produce the same effect upon the exile of Erin as the eating of the forbidden fruit did upon Adam and Eve. In the morning, they were pure, loving, and innocent; in the evening guilty." - The Liberator, August 11, 1854 <br /> <br />

*The term America is used in this post to mean the United States of America.</div> <br />

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<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> Out of Ireland: The Story of Irish Emigration to America - <a name="mp4">Narrated By: Kelly McGills</a> :: </strong> </span></span></div> 
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CulturalStudies — «Out of Ireland» — The Story of Irish Emigration to America

The Story of Irish Emigration to America - Photo: illustration — [http://goo.gl/Nh4Yrg] Out of Ireland: The Story of Iri...

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Essay — «Crevecoeur and Monica Ali’s Brick Lane» — Cultures [PDF/Videos]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> Crevecoeur vs Monica Ali </font></a> - Photo: <a href="http://www.benjaminmadeira.com/search/label/essays" title="Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane" alt="Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane" target="_blank" style="text-decoration: none;"><font color="#FF4000"> Deliss/Godong/Corbis/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/qlYsOI] Crevecoeur —Letter III, What is an American— and Monica Ali’s Brick Lane.  _______________________Immigration</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Writing http://goo.gl/qlYsOI an essay on Crevecoeur —Letter III, What is an American— and Monica Ali's Brick Lane; Interdisciplinary Course with Cultural Studies | #Essay #Immigration #Bangladesh #Muslims #British #Americans #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society #Culture What is an American? What is a Bangladeshi in Brick Lane? </div> <br /><br />

<div class="JBMCode"> Exam in Interdisciplinary course (combines both literature and cultural studies: UK/American Literature and UK/American Culture) <br /><br />

The earliest articulation of the melting pot concept came in 1782, from J. Hector St. John Crevecoeur, a French officer turned New York settler, who envisioned assimilated Europeans as ingredients in a vast melting pot of cultures. The concept of the melting pot later expanded to include people from different races and backgrounds, as it became one of the cornerstones of assimilation theory. While many academics dispute the relevance of the term, the model of the melting pot offers an idealistic vision of U.S. society and identity, combining people from diverse ethnic, religious, political, and economic backgrounds together into a single people. <br /><br />

In The Journals and Miscellaneous Notebooks of Ralph Waldo Emerson, ed. by William H. Gilmanetal. (Cambridge, Mass.: The Belknap Press of Harvard University Press, 1960-1982), vol. IX, 1843-1847, ed. by Ralph H. Orthand Alfred R. Ferguson (1971), pp. 299f., the following entry for 1845 can be found:  <br /><br />

Well, as in the old burning of the Temple at Corinth, by the melting & intermixture of silver & gold & other metals, a new compound more precious than any, called the Corinthian Brass, was formed so in this Continent, -asylum of all nations, the energy of Irish, Germans, Swedes, Poles, & Cossacks, & all the European tribes, - of the Africans, & of the Polynesians, will construct a new race, a new religion, a new State, a new literature, which will be as vigorous as the new Europe which came out of the smelting pot of the Dark Ages [...] </div> <br />

<div class="citajbm"> "Cultural identification" :: how a culture or ethnic group is identified in the literary text.<br /><br />

In "Brick Lane" and "Letter III, What is an American?" we have several cultural groups identified in the text, white Europeans, Muslims, Bangladeshi, British, and so on. We know that's what they are because they're identified as such.<br /><br />

However, we know that every author chooses the images and vocabulary, metaphors, and so on--all the narrative techniques we can employ in crafting a story--with an eye toward achieving that particular effect or story. So, for instance, how is Muslims presented here, by what means, and to what effect?<br /><br />

That's what we mean by "cultural identification" and analyzing that culture.<br /><br />

How are those elements presented in these two texts, "Brick Lane" and "Letter III, What is an American?". By choosing one culture in each text (for example, Muslims and Americans), one can handle them in their respective texts. For instance, what does Crévecoeur do in defining American culture, and what does Ali do in defining British (or Bangladeshi) culture? Are they the same? Different? To what effect or what purpose?<br /><br />

One just needs to support one's argument with examples from the texts and understanding of the cultural context.   <br /> <br />

*The term America is used in this essay to mean the United States of America.</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Five-paragraph essay on Crevecoeur —Letter III, What is an American— and Monica Ali's Brick Lane; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
<CENTER> <a href="https://drive.google.com/file/d/0B4kGy0lOHL12NVFHVWZKUm5TcVE/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/05/crevecoeur-and-brick-lane.html" title="Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane, PDF" alt="Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane, PDF" target="_blank"><img oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" itemprop="photo" border="0" alt='Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane, PDF - Official Website - BenjaminMadeira' title='Crevecoeur —Letter III, What is an American— and Monica Ali Brick Lane, PDF - Official Website - BenjaminMadeira' src="http://1.bp.blogspot.com/-2Ymanory5Hw/VEEJYDTBnII/AAAAAAAATcs/1QS3M7oYCr4/s1600/pdf-BenjaminMadeira-com.gif" height="325px" width="325px" /> </a> </CENTER> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> What is an American? What is a Bangladeshi in Brick Lane? :: </span></div></H2> 
<div class="citajbm"> In <i>Letter III</i> (1782) and <i>Brick Lane</i> (2004), both French-born American Crevecoeur and Bangladeshi-born British Monica Ali address the issue of belonging by portraying a definition of individuals’ identity on different environments. In both cases, their choice of setting serves to underline their ideological concerns. When attempting to find out what the authors’ stance is on national or individual identity, one can ask them out loud: should immigrants be one hundred percent Americans, British, without clinging to some of their native culture? In his arguments, James, the farmer, purports that immigrants lost their cultural roots and hence became Americans (Crevecoeur 54). Monica Ali, on the other hand, champions policies that have been adopted with the perspective of convergence to an endogenous, social cohesion, meaning “pluralist integration model,” which leads to uniformity. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The « melting pot » metaphor :: </span></div></H2> 
<div class="citajbm"> By changing his name Michel-Guilluame-Jean de Crèvecœur to the Americanized James Hector St. John, French Crèvecoeur provides himself as an example in how the new race of men should act upon their arrival to the British colonies in America. Crevecoeur’s letter writer, a farmer named James Hector St. John, addresses a fictional English recipient in Letter III where he attempts to portray various perspectives of being an American; what the national identity this emerging American society should have. Crevecoeur was the first proponent of the American prototype encapsulated in the « melting pot » metaphor. This type of society would be a relatively heterogeneous entity that becomes increasingly homogenous as the varying elements met together to one harmonious whole that has a common or shared culture (Modood 3). In this American community “individuals of all nations are melted into a new race of men" (Crevecoeur 55, emphasis added). Crevecoeur’s purpose in Letter III is to delineate a monolithic integration model, which is equated with cultural assimilation and acculturation rather than a multithreaded tapestry of immigrants in modern United States society (Crevecoeur 56).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Either a European, or the descendant of a European :: </span></div></H2> 
<div class="citajbm"> According to James, most Americans were made up of a mixture of immigrants from some European ethnic groups, “a mixture of English, Scotch, Irish, French, Dutch, Germans, and Swedes” (Crevecoeur 51) who, if they were "honest, sober and industrious" (Crevecoeur 91), would prosper in a welcoming land of opportunity (Crevecoeur 55). "[‘Where there is bread, there is my country’] is the motto of all emigrants," postulated James (Crevecoeur 54). The fictional narrator of the text, James, the American farmer, captures that the American, “this new man […] is either a European, or the descendant of a European, hence that strange mixture of blood, which you will find in no other country” (Crevecoeur 54). According to the monolithic integration model advocated by Crevecoeur, those immigrants who left their homes, should ignore any ethnic heritage; they should strive to love their new country more than their country of origin, thus “[t]he American ought […] to love this country much better than that wherein either he or his forefathers were born” (Crevecoeur 43, 55).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Immigrants did not have their own home culture :: </span></div></H2> 
<div class="citajbm"> Hence, according to the monolithic integration model, the immigrants did not have their own home culture and were to embrace the dominant cultural aspects of this new white race in America (Martin 8). Immigrants are thus forced to share and use cultural aspects of the larger group so as to become culturally homogenous. As James, the farmer, advances, “[t]he American is a new man, who acts upon new principles. He must therefore entertain new ideas and form new opinions” (Crevecoeur 56). What defines Americans and British today would not be complete without mentioning the increasing pluralistic integration model where different cultures have adopted social cohesion while at the same time maintaining their cultures. The multiculturalists believe that homogeneity is to be achieved when each cultural group is recognized and treated on equal measure (Martin 8).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Monica Ali's  Brick Lane :: </span></div></H2> 
<div class="citajbm"> Brick Lane scrutinizes modern integration with a view to ethnic heritage. Readers will follow the story of Nazneen, a young Bangladeshi girl. She is a literary character that has depth, layers and can surprise the readers and convince them. She has ‘the incalculability of life’ about her (Forster 55); she is thus, a round character. Nazneen, at the age of eighteen is married off to Chanu, a forty year old Bengali man living in London, specifically on Tower Hamlets, a hidden place largely populated by immigrants from Bangladesh (Lane, n/p). Monica Ali utilizes diverse literary techniques when crafting her story on Bangladeshi-immigrant protagonist Nazneen. The author explores diverse themes; however, in order to elaborate shortly on this paper, the focus will be individual identity. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The Bengali community: an entity that depends on fate :: </span></div></H2> 
<div class="citajbm"> Monica Ali begins portraying the Bengali community as an entity that depends on fate, destiny or predestination and as a consequence of this, they are passive when facing decisions in life. As the third person narrator advances: “‘[o]f course, Fate will decide everything in the end, whatever route you follow’” or “[…] you are destined to die of hunger […]” (Ali 14). Furthermore, by portraying Nazneen's mother as a saint and all her lineage, it is being implied that Nazneen is destined to be an obedient wife (Ali 80); if she suffers then she should be patient and silent within her own ethnic community and within multicultural Brick Lane. Therefore, she should know, integration cannot take place. The author depicts the Bengalis this way so as to plough the field, in Brick Lane, and thus, surprise her readers with Nazneen's changing identity while debating immigration and the pluralist integration model.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Interaction in local communities is a paramount aspect in human sociality :: </span></div></H2> 
<div class="citajbm"> In order for an immigrant to become integrated into a society, interaction in local communities is a paramount aspect in human sociality, the Bangladeshi villager, however, remains ‘in a very sorry state’ in her apartment, refusing to shed all vestiges of her cultural heritage. She embodies what other Bengali immigrants feel while on British soil: “[t]heir bodies are here but their hearts are back there” (Ali 32). “In all her eighteen years, she could scarcely remember a moment she had spent alone. Until she married. And came to London to sit day after day in this large box with the furniture to dust, and the muffled sound of private lives sealed away above, below and around her” (Ali 24; Parekh 197). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Now our children are copying what they see here :: </span></div></H2> 
<div class="citajbm"> Monica Ali attempts to portray the western –British– culture from East’s perspective in doctors Azad’s words: “[...] I saw two of our young men in a very sorry state” (Ali 31), explaining why immigrants should not become integrated in western society. Nazneen’s spouse corroborates it, as the male focalizer exemplifies that: "[...] for my part, I don't plan to risk these things happening to my children. We will go back [before [my] children [are] affected by Western habits]" (Ali 32). Doctor Azad regrets, "now our children are copying what they see here, going to the pub, to nightclubs. […] The problem is our community is not properly educated about these things" (Ali 31).  In Brick Lane, Monica Ali concludes that ‘gradual fusion’ or metamorphosis should be every individual’s decision as is the case of Nazneen’s daughters. Newcomers should choose whether they want injection of regular doses of local culture or not (Parekh 197; Øien-Vikaune, Lesson 2, video: 24:09).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Individual identity is non-static :: </span></div></H2> 
<div class="citajbm"> “Identity” is a topic of wide variety, but can be defined for this purpose as ‘their understanding of who she is, what she wants to be recognized as.’ The concept of individual identity is non-static, it changes all the time, and immigrants, such as Nazneen, struggle with an evolving identity within themselves (Bloom 52; Fearon 4-6). Monica Ali gives her readers the feeling of the emptiness and confusion in Nazneen’s live by placing 'dead grass,' 'broken paving stones' (Ali 17), and so on, in the pages of the immigration story. Such figurative language evokes vivid images that reveal characterization and reinforce Ali's themes while contrasting Nazneen's Bangladeshi village. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Nazneen goes on to establish an extra-marital affair :: </span></div></H2> 
<div class="citajbm"> In Brick Lane, Nazneen meets obstacles, but she will demonstrate that she can overcome them by challenging the beliefs imposed on her that dictates that she is not the master of her own life. Since birth, Nazneen’s mother, Rupban, told her that it was pointless to oppose fate (Ali 14). On deciding to oppose her mother’s advice, Nazneen goes on to establish an extra-marital affair with Karim, a young Muslim from the same community, and their attraction between them destroys their moral expectations, and as time goes by, she gives up supporting her husband. Even after being almost half his life on British soil his heart is still in his country of origin; not even the tears of his daughters make the jingle of his own voice stop echoing: “[t]he pull of the land is stronger even than the pull of blood” (Ali 32). Nazneen takes her own decision on whether she will stay home or go back to the rice fields of rural Bangladesh. Unlike Chanu, Nazneen has finally being released from fate that kept her subjugated and silent for years. Nazneen can finally formulate questions and by acting this way she is even defying God’s will: “[i]f God wanted us to ask questions, he would have made us men" (Ali 80), Nazneen had been advised. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Societies change—for better or worse—and the United States also does; Great Britain is not the exception to the rule. While Crevecoeur argues for the idea of a monolithic integration, Monica Ali defends the idea that immigration is good for Britain but not the blending of many cultures, languages and religions to form a single national identity as articulated by Crevecoeur. As immigrants flourish in new societies, their identity changes from their country of origin to being progressively adjusted. As Monica Ali points out, immigrants change, perhaps it is a slowly process but it happens nevertheless (Ali, 2014, video 07:12-26). Immigrants will eventually become integrated in the host society as Nazneen’s daughters and eventually Nazneen herself did. Parekh concludes that “[...] minorities have a right to maintain and transmit their ways of life, and denying it to them is both indefensible and likely to provoke resistance” (197). </div> <br />

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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Ali, Monica. Brick Lane, excerpt (chapters 1, 2 and 3). London: Black Swan, 2004.  11-80. Print.  <br /><br />

• [2] Bloom, William. Personal Identity, National Identity, and International Relations. Cambridge: Cambridge University Press. 1990. Print. <br /><br />

• [3] <a href="https://drive.google.com/file/d/0B4kGy0lOHL12TDdlNVA3THUtcEk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/04/crevecoeur-american.html" title="Letters from an American farmer, 1904, PDF" alt="Letters from an American farmer, 1904, PDF" target="_blank" style="text-decoration: none;"><font color="#FF4000">Crevecoeur J. Hector St. John de. Letters from an American Farmer</font></a>. New York: Fox, Duffield and Company. (1904 [1782]). Print. Pp. 48-91.  <br /><br />

• [4] Fearon, James D. What is identity? Stanford University. 1999. Print. <br /><br />

• [5] Forster, E. M. Aspects of the Novel. New York: RosettaBooks. 1927. Print. ISBN 0-7953-0952-X <br /><br />

• [6] Lane, Harriet. Ali's in wonderland. TheGuardian, 2003. Web. Retrieved on May 2015 from http://goo.gl/OYf4lI <br /><br />

• [7] Martin, Philip. Immigration and Integration: The US Experience and Lessons for Europe. Commission for Migration and Integration Research, Vol 16, 2007. 1-14.  <br /><br />

• [8] Modood, Tariq. Remaking multiculturalism after 7/7. Open Democracy, 29(7). 2005. Web. Retrieved on May 2015 from https://goo.gl/5xT42r <br /><br />

• [9] Parekh, Bhikhu C. <a href="https://drive.google.com/file/d/0B4kGy0lOHL12VjdyVXkweFZ5Nkk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/integration.html" title="Rethinking Multiculturalism" alt="Rethinking Multiculturalism" target="_blank" style="text-decoration: none;"><font color="#FF4000">“Rethinking Multiculturalism : cultural diversity and political theory” in: Chapter 7: The Political Structure of Multicultural Society</font></a>. 2000. Cambridge, Mass. : Harvard University Press. Print. ISBN: 0674004361 <br />
<div class="JBMCode"> By an academic, for academics, using academic argument forms, and with an academics meanness of spirit. </div> <br /><br />

• [10] Øien-Vikaune, Ane. Cultural Studies Unit 2: Race, and integration theory. Take Credit, NTNU: Lesson 2, 2015. Web. Retrieved on Feb 2015 from (Video) https://goo.gl/B8dZOM and (PDF) https://goo.gl/j0kSZN <br /><br />

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Essay — «Crevecoeur and Monica Ali’s Brick Lane» — Cultures [PDF/Videos]

Crevecoeur vs Monica Ali - Photo: Deliss/Godong/Corbis/illustration — [http://goo.gl/qlYsOI] Crevecoeur —Letter III, What...

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Essay — «Irish—in the USA» — integrated into mainstream society [PDF/Videos]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> Minority group integrated into mainstream society </font></a> - Photo: <a href="http://www.benjaminmadeira.com/search/label/essays" title="Irish— minority group —living in the USA—, and their integration into mainstream society" alt="Irish— minority group —living in the USA—, and their integration into mainstream society" target="_blank" style="text-decoration: none;"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/XTthkV] Irish— a minority group —living in the USA—, and their integration into mainstream society.  _______________________Immigration</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Writing http://goo.gl/XTthkV an essay on a minority group —living in the USA—, and its integration into mainstream society: While 1) Irish immigrants struggled in the past to become well-adjusted in the United States society, 2) their integration was speeded up by undergoing biological assimilation, and 3) today they are integrated into mainstream society | #Essay #Immigration #Irish #English #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society #Culture  #EthnicRelations #Ethnology #Americanization #Emigration #Immigrants #History #Ethnicity #Nationalism #IrishAmericans   </div> <br /><br />

<div class="JBMCode"> Exam in Interdisciplinary course (combines both literature and cultural studies: UK/American Literature and UK/American Culture)   <br /><br />

The Irish, who, at home, readily sympathize with the oppressed everywhere, are instantly taught when they step upon [American] soil to hate and despise the Negro.... Sir, the Irish-American will one day find out his mistake. - Frederick Douglass, May 10, 1853 -as quoted in Ignatiev, Noel. "How the Irish Became White." New York: Routledge, 1995. </div> <br />

<div class="citajbm"> The key themes here are: immigration, ideology, identity, ethnicity, social class and prejudice/discrimination.   <br /> <br />

Once seen as threats to mainstream society, Irish Americans have become an integral part of the American story. More than 40 million Americans claim Irish descent, and the culture and traditions of Ireland and Irish Americans have left an indelible mark on U.S. society. <br /> <br />

Integration is a process wherein immigrant newcomers and the communities in which they settle — both the individuals and institutions — mutually adapt to one another. Integration is also an endpoint reached when individuals only minimally perceive themselves and others in ethnoracial and national terms, when these attributes have, at most, a negligible negative impact on opportunities and life chances. (Richard Alba and Victor Nee, "Remaking the American Mainstream: Assimilation and Contemporary Immigration." Cambridge, MA: Harvard University Press, 2003.) <br /> <br />

*The term America is used in this essay to mean the United States of America.</div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Five-paragraph essay on Irish— a minority group —living in the USA—, and their integration into mainstream society; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
<CENTER> <a href="https://drive.google.com/file/d/0B4kGy0lOHL12VHM3dU9JRGp6akk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/05/irish-in-usa.html" title="Irish— a minority group —living in the USA—, and their integration into mainstream society, PDF" alt="Irish— a minority group —living in the USA—, and their integration into mainstream society, PDF" target="_blank"><img oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" itemprop="photo" border="0" alt='Irish— a minority group —living in the USA—, and their integration into mainstream society, PDF - Official Website - BenjaminMadeira' title='Irish— a minority group —living in the USA—, and their integration into mainstream society, PDF - Official Website - BenjaminMadeira' src="http://1.bp.blogspot.com/-2Ymanory5Hw/VEEJYDTBnII/AAAAAAAATcs/1QS3M7oYCr4/s1600/pdf-BenjaminMadeira-com.gif" height="325px" width="325px" /> </a> </CENTER> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Integration of the Irish in the American Society :: </span></div></H2> 
<div class="citajbm"> Immigration has undoubtedly constituted a fundamental element of the United States of America. The composition of American society today goes beyond people derived from the finest of a few selected European countries (Alba and Nee, Kindle Locations 401-402; Crevecoeur 51). A large proportion of the American populace has in fact its roots traced to other parts of the world (Øien-Vikaune, Lesson 1, video: 00:33-50). On several occasions, the United States has been termed as the “melting pot” (Alba and Nee, Kindle Locations 401-402). Of course, this necessitates full integration and adjustments both among immigrants and their progeny. Furthermore, scholars acknowledge that the speed of integration and adjustment may vary within a new society whose members are from different countries and races (Ignatiev 43). When dealing with the contentious issue of examination or discussion on minorities, immigration or integration, one cannot relegate Irish immigrants to a sphere that does not impinge on their adjustment in the United States. While Irish immigrants struggled in the past to become well-adjusted in the United States society, a selective group of them speeded up their own integration; they underwent biological assimilation, and today, despite the heterogeneity of Irish Immigrants, the Irish population in general has over time become integrated into the mainstream United States society but still emulating Irish traditions. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Emigration from Ireland is not homogenous :: </span></div></H2> 
<div class="citajbm"> While some critics may argue that emigration from Ireland was triggered by both famine in the nineteenth century, economic climate and oppression, one can also argue that emigration from Ireland is not a homogenous issue; immigration experiences for Irish people differed by gender and from one person to the other (Schwaninger 51; Salins 26; Øien-Vikaune, Lesson 1, video: 03:04-31; 05:21-06:59). For Meagher “[t]here may never be a last Irish immigrant as long as Ireland and the United States exist” (3). According to Meagher, Irish people living in the US today ought to be separated into two main groups; most of those who call themselves Irish "are either Protestant or had ancestors that were" (4). When general public refer to Irish, they are talking about those who emigrated during the nineteenth- and twentieth-century. However, "most of today’s self-identified Irish in America came here in the eighteenth century" (Meagher 4).  Those first Irish immigrants –before, during and after Napoleonic Wars– moved to the United States in search of economic prosperity (Abed 90-91); the post-famine Irish found a way of escaping the significant oppression they suffered in the hands of the Britons while searching for prosperity as well (Øien-Vikaune, Lesson 1, video: 02:26-57; Ignatiev 2).  On their arrival, all of them became a complex Irish community. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Complex Irish people on American soil :: </span></div></H2> 
<div class="citajbm"> Without question, Irish people on American soil make a complex picture which is difficult to categorize; even historians are still attempting to make sense of the history of Irish Americans. Today, political scientists cannot explain how the Irish achieved such economic success and political power despite the fact that they had been such outsiders, and had been such rejected group in society (Wagner, video 46:30-47:19). However, there is an Irish group that one can pin down. During one of the racist periods of nineteenth-century US, there was an Irish group compound of men and women who were among the fiercest enemies of black American slaves (Meagher 5). Ironically, those Irish immigrants, under the English Penal Laws, in 1695, had undergone the same experience as American slaves underwent (Ignatiev 34-39; Abed 17, 24; Parnell, 1808, 1-226; Parnell, 1825, 1-159). In the initial years of immigration, the Irish married Asians or blacks slaves in most places where they settled in large numbers, where they also were in the same class competing for similar jobs (Wagner, video 26:08-57; 37:55-38:24; Meagher 5). However, in spite of their history of being oppressed in a tyrannical land, and their fight for rights and freedom (Ignatiev 34-36), and even the consistent pleas to support abolitionists (Ignatiev 6-29), the Irish immigrants realized that they could effectively gain acceptance by the mainstream society as good citizens through cooperating in the persistent oppression of African Americans (Ignatiev 110-111).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Caucasian characteristics :: </span></div></H2> 
<div class="citajbm"> Integration into a new Western society can be very or less problematic depending on where immigrants originally come from. In general, immigrants who come from Western societies whose governments are driven by liberal democratic principles integrate themselves in a better and faster way into another Western society, especially if those newcomers have Caucasian characteristics. These Irish immigrants struggled to become integrated into the mainstream society because of marginalization, based on their cultural values, economic status and religious beliefs but first and foremost due to their biological characteristics (Wagner, 39:12-47). As a matter of fact, the Irish immigrants were perceived as a separate race (Øien-Vikaune, Lesson 2, video: 3:10-3:38). In the antebellum period, the Irish were usually regarded as “niggers turned inside out [and blacks as] smoked Irish” (Ignatiev 41-42) and several others racial epithets. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Total cultural assimilation requires biological assimilation :: </span></div></H2> 
<div class="citajbm"> British-Indian political philosopher Bhikhu Parekh (198) writes that assimilation would not be a promise for wholesome acceptance into the society and that total cultural assimilation requires biological assimilation. This comes out clearly in the case of the Irish. Those fiercest enemies of black American slaves, who did not have Caucasians features, adopted a pragmatic stance; those nineteenth-century Irish underwent a biological assimilation in the United States (Alba and Nee, Kindle Location 1760-1766). The interaction between Irish and blacks did not last long as the former realized the advantages that came with intermarrying with other members of the dominant societies rather than the African Americans who were seen as the underdogs in American society (Ignatiev 49). When deciding on whether they had to be impervious to outside influence, giving up their own values that constituted their identity, Irish married beyond their own ethnic group; they found spouses from among other Caucasians, and stopped intermarrying with other Catholics and American slaves (Alba and Nee, Kindle Location 1760-1766). This is an early version of what has since become known as Anglo-conformity, described as “Americanization”, in the US, the expectation that all nation’s members should “share a common national culture, including common values, ideals of excellence, moral beliefs and social practices” while simultaneously disgorging their own cultural heritage (Healey & O'Brien 45; Parekh 197-199; Øien-Vikaune, Lesson 2, video: 20:47). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The assimilationist integration model :: </span></div></H2> 
<div class="citajbm"> In adopting some of the native-born’s prejudices toward blacks, Irish adopted the assimilationist integration model as described by Parekh: “In the assimilationist view the choice before minorities is simple. If they wish to become part of society and be treated like the rest of their fellow-citizens, they should assimilate. If they insist on retaining their separate cultures, they should not complain if they are viewed as outsiders and subjected to discriminatory treatment” (197). The early articulation of the melting pot conception of assimilation expressed by the French-born J. Hector St. John Crevecoeur has a very contemporary ring: "<i>He</i> is an American, who leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced, the new government he obeys [...]”(Crevecoeur 54). After several generations, as their Caucasian features became clear, the Irish finally moved up the socioeconomic ladder, as stated by Peter Salins, they elevated their status “primarily because of the whiteness of their skins” (27); now there was no big color difference between native-born Americans, known as nativists, and these Irish. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Thus, the Irish world on American soil is a messy business; it is more complicated than simply mechanically affirming and reaffirming that the Irish are fully assimilated in the United States of America. While some of Irish men and women have fought hard to successfully achieve what they were unable in Europe, others, ironically, realized that their integration in the American society depended primarily on taking a pragmatic stance; giving African Americans a wide berth and supporting the whites in oppressing them. In general, while celebrating their adaptation in American society, most of Irish immigrants and their offspring show vestiges of their cultural heritage (Parekh 197), especially their religion beliefs and their folkloric traditions (Wagner, video 1:18:50-1:23:16). When answering on whether Irish became assimilated, Alba and Nee argue that [a]ssimilation is not a static or unchanging concept; [...] [furthermore] [c]onceptions of the American mainstream likewise have changed as immigration has contributed to the growing diversity of ethnic and racial groups that inhabit the United States" (Kindle Location 306-307). Meagher agrees that "any ethnic group like Irish Americans is dynamic—it changes—" (6).  Thus, as of 2000 “more than 35 million Americans identified themselves as being of Irish ancestors (Øien-Vikaune, Lesson 1, video: 07:12-35). Alba and Nee argue that “[t]he descendants may choose to celebrate their ethnic identity and cultural roots, but their ethnicity has greatly diminished as an ascriptive trait that decisively shapes life chances” (Kindle Locations 11-12). Nevertheless, American historian, Marcus Lee Hansen, the son of Danish immigrants, concludes that ethnicity is preserved among immigrants; it is true that it weakens in the minds of their children but it returns reverberating through the veins of their grandchildren because "[w]hat the son wishes to forget, the grandson wishes to remember" (qtd. in Alba and Nee, Kindle Locations 421-422). </div> <br />

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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES : FURTHER READING: </span> <br /><br />

• [1] Abed, Antsar A. Irish immigration to the United States of America 1815-1850. Dissertation. Ph.D of Art in Modern History. Warsaw: Faculty of History, University of Warsaw. 2014. Print.<br />
<div class="JBMCode"> This dissertation concerns the history and the causes of the Irish emigration to the United States in the first half of the 19th century. Author, using British Irish, and to lesser extent also American primary sources. </div> <br /><br />

• [2] Alba, Richard D, and Victor Nee. Remaking the American Mainstream: Assimilation and Contemporary Immigration. Cambridge, Mass: Harvard University Press, 2003. Ebook, Kindle Edition. ISBN: 9780674020115<br />
<div class="JBMCode"> In this age of multicultural democracy, the idea of assimilation--that the social distance separating immigrants and their children from the mainstream of American society closes over time--seems outdated and, in some forms, even offensive. But as Richard Alba and Victor Nee show in the first systematic treatment of assimilation since the mid-1960s, it continues to shape the immigrant experience, even though the geography of immigration has shifted from Europe to Asia, Africa, and Latin America. Institutional changes, from civil rights legislation to immigration law, have provided a more favorable environment for nonwhite immigrants and their children than in the past. Assimilation is still driven, in claim, by the decisions of immigrants and the second generation to improve their social and material circumstances in America. But they also show that immigrants, historically and today, have profoundly changed our mainstream society and culture in the process of becoming Americans. Surveying a variety of domains--language, socioeconomic attachments, residential patterns, and intermarriage--they demonstrate the continuing importance of assimilation in American life. And they predict that it will blur the boundaries among the major, racially defined populations, as nonwhites and Hispanics are increasingly incorporated into the mainstream.  Of special interest is, for this essay, the chapter about "Racial Distinctiveness of New Immigrant Groups."</div> <br /><br />

• [4] Healey, Joseph F. & ‎Eileen O'Brien. Race, Ethnicity, Gender, and Class: The Sociology of Group Conflict and Change. 2014. SAGE Publications. Print.  <br /><br />

• [5] Ignatiev, Noel. How the Irish Became White. New York: Routledge, 1995. Print. ISBN: 0415913845 <br />
<div class="JBMCode"> How the Irish Became White explodes a number of myths surrounding race in our society. Focusing on how the Irish were assimilated as "whites" in America, Noel Ignatiev uncovers the roots of conflict between Irish Americans and African Americans and draws a powerful connection between Irish "success" in nineteenth-century American society and their embrace of white supremacy. </div> <br /><br />

• [6] Kuper, Leo. “Plural Societies” in Guibernau, Montserrat and Rex, John (eds.): The Ethnicity Reader, Nationalism, Multiculturalism and Migration, Cambridge, UK: Polity Press, 2001. Print.  ISBN: 0745619223<br />
<div class="JBMCode"> The Ethnicity Reader presents a highly accessible introduction to the study of ethnicity by providing an original approach to nationalism, multiculturalism and migration. </div> <br /><br />

• [7] Meagher, Timothy J.. Columbia Guide to Irish American History. 2005. Columbia University Press. Print. ISBN: 1423733983 <br />
<div class="JBMCode"> In this age of multicultural democracy, the idea of assimilation--that the social distance separating immigrants and their children from the mainstream of American society closes over time--seems outdated and, in some forms, even offensive. But as Richard Alba and Victor Nee show in the first systematic treatment of assimilation since the mid-1960s, it continues to shape the immigrant experience, even though the geography of immigration has shifted from Europe to Asia, Africa, and Latin America. Institutional changes, from civil rights legislation to immigration law, have provided a more favorable environment for nonwhite immigrants and their children than in the past. Assimilation is still driven, in claim, by the decisions of immigrants and the second generation to improve their social and material circumstances in America. But they also show that immigrants, historically and today, have profoundly changed our mainstream society and culture in the process of becoming Americans. Surveying a variety of domains--language, socioeconomic attachments, residential patterns, and intermarriage--they demonstrate the continuing importance of assimilation in American life. And they predict that it will blur the boundaries among the major, racially defined populations, as nonwhites and Hispanics are increasingly incorporated into the mainstream. </div> <br /><br />

• [8] Modood, Tariq. Remaking multiculturalism after 7/7. Open Democracy, 29(7). 2005. Web. Retrieved on May 2015 from https://goo.gl/5xT42r  <br /><br />

• [10] Parnell, Henry. A History of the Penal Laws Against the Irish Catholics: From the Treaty of Limerick to the Union. Dublin: H. Fitzpatrick, 4, Capel-Street, 1808. Web. Retrieved on May 2015 from https://goo.gl/2PLw3t  <br />
<div class="JBMCode"> A History of the Penal Laws Against the Irish Catholics. Original material. </div> <br /><br />

• [11] Parnell, Henry, and Henry Brooke Parnell Congleton. A History of the Penal Laws Against the Irish Catholics: From the Year 1689, To the Union. 1825. London: Longman, Hurst, Rees , Orme, Brown, and Green. Web. Web. Retrieved on May 2015 from
https://goo.gl/tsj0hO <br />
<div class="JBMCode"> A History of the Penal Laws Against the Irish Catholics. Original material. </div> <br /><br />

• [12] Rex, John. "The concept of a multicultural society“ in Guibernau, Montserrat and Rex, John (eds.): The Ethnicity reader, Nationalism, Multiculturalism and Migration, Cambridge, UK: Polity Press, 2001. Print. ISBN: 0745619223 <br />
<div class="JBMCode"> The Ethnicity Reader presents a highly accessible introduction to the study of ethnicity by providing an original approach to nationalism, multiculturalism and migration. </div> <br /><br />

• [13] Salins, Peter D. Assimilation, American Style. New York: Basic Books, 1997. Print. ISBN: 0465098177<br />
<div class="JBMCode"> The past few years have witnessed an intensification of anti-immigration sentiment in America. </div> <br />

• [14] Schwaninger, Julia. “Analysing Colm Tóibín’s Novel Brooklyn and Selected Short Stories of Mothers and Sons for the Purposes of Teaching in the EFL Classroom.” 2011. Web. March 2015. http://goo.gl/oo6U5W  <br /><br />

• [15] Wagner, Paul; Kerby Miller, Paul Wagner. Out of Ireland: The Story of Irish Emigration to America. PBS: 1995. Video. Web. Retrieved on May 2015 from https://www.youtube.com/watch?v=UM4UWh9EwKA <br />
<div class="JBMCode"> This documentary chronicles the 200-year history and experiences of Irish-American immigrants. The film is comprised of a blend of still photographs, drawings, and on location re-creations. It also includes the personal stories of many famous Irish-Americans including modern actors Aidan Quinn and Liam Neeson. The film also includes interviews with historians and commentators. Narrated by Kelly McGillis. </div> <br /><br />

• [16] Øien-Vikaune, Ane. Cultural Studies Unit 1: Immigration history. Take Credit, NTNU: Lesson 1, 2015. Web. Retrieved on Jan 2015 from (Video) https://goo.gl/IPNH8D and (PDF) https://goo.gl/D6Uqp2 <br /><br />

——— Cultural Studies Unit 2: Race, and integration theory. Take Credit, NTNU: Lesson 2, 2015. Web. Retrieved on Feb 2015 from (Video) https://goo.gl/B8dZOM and (PDF) https://goo.gl/j0kSZN <br /><br />

——— Cultural Studies Unit 4: Cultural and political impact. Take Credit, NTNU: Lesson 4, 2015. Web. Retrieved on Feb 2015 from (Video) https://goo.gl/8gcDzz and (PDF) https://goo.gl/WFQ27q <br /><br />

</div>

Essay — «Irish—in the USA» — integrated into mainstream society [PDF/Videos]

Minority group integrated into mainstream society - Photo: illustration — [http://goo.gl/XTthkV] Irish— a minority group —...

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Education — «Argumentative/Persuasive Text using UK TV commercials» — [Videos/PDF]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> Argumentative/Persuasive writing </font></a> - Photo: <a href="http://www.benjaminmadeira.com/search/label/storytelling" title="Argumentative/Persuasive writing" alt="Argumentative/Persuasive writing" target="_blank" style="text-decoration: none;"><font color="#FF4000">- illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/cRPwgj] Argumentative/Persuasive Text using UK TV commercials.  _______________________Videos/PDF</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Creating http://goo.gl/cRPwgj one writing activity related to argumentative/persuasive text | #Ads #ESL #Education #Pedagogy #English #StudyNotes #UniversityStudies #Writing #Advertising #CreativeWriting #Advertisements #ELLs </div> <br /> <br />

<div class="JBMCode"> While the ESL students are improving when it comes to analyzing <em>how</em> an argument develops, they still struggle with how to identify the logical fallacies of an argument and the flaws that affect the conceptual foundation of the argument. I’m going to play them these videos and ask them the following:  <br /> <br />

<ul>
<li>Literally, what is the primary argument of these videos?</li> <br />
<li>In the larger sense, what is being suggested by the different ads?</li> <br />
<li>What logic is used to present the argument?</li> <br />
<li>What evidence is used to defend the position? To what extent does it actually support the claim?</li> <br />
<li>What holes or flaws can you find within the argument?</li> <br />
<li>What errors exist in the ads' reasoning?</li> </ul>

<p>Even though these videos may not lend themselves to deep analysis, I think they remind students the importane of examining the actual argument and serves as a good introduction to argument analysis as a whole.</p> </div> <br />

<div class="citajbm"> #1: I am writing a whole text where I describe 1 writing activity my students have to do in the ESL classroom. They have to write a text where they argue/convince their readers.  <br /><br />

#2: In my whole text I am explaining my markers how I would organize my writing project together with my students.  <br /><br />

#3: I am writing how I am going to guide (scaffold) my students in the writing project, etc.  <br /><br />

#4: I am writing what is the purpose of the writing activity. <br /><br />

#5: I am explaining/arguing the way I am going to work with the writing method I have chosen.  <br /><br />

I am gathering my students in small groups and have them to watch the 14 most effective adverts/commercials from the UK below, and then write a manuscript of their own adverts based on the ads they just have watched, and then set their own ads up. Their writing/ads have to be argumentative/persuasive using the Twitter app Periscope or any other digital device of their preference. Why is this useful? My focus is the digital writing and digital storytelling. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Creating one writing activity related to argumentative/persuasive text at lower secondary school in Norway, 2015; Pedagogy, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Creating one writing activity related to argumentative / persuasive writing :: </span></div></H2> 
<div class="citajbm"> There are many approaches to teach writing. Digital and creative writing can be used as an effective language learning tool in a comfortable environment, not in the ‘monotony of the ESL classroom’ (Maley 1). Digital and creative writing can develop great self-confidence and self-esteem among learners because they can experiment with multimodal learning without pressures. Thus, promoting personal growth, maturation as well as increase linguistic intelligence. Digital and creative writing can also assist ESL learners improve grammar, argue and persuade a general public expressed through the English language, expand their lexis and knowledge on the English language sound system (Maley 1). Because young individuals are engaged with digital media, they are likely to enjoy writing using digital technology (Erstad 59). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Persuasive writing in the ESL classroom at lower secondary school in Norway  :: </span></div></H2> 
<div class="citajbm"> This paper focuses on how to scaffold tenth-grade students in a short, familiar, digital, persuasive writing in the ESL classroom at lower secondary school in Norway. We are starting a two-week writing project related to argumentative/persuasive writing working through the sequence of modelling, scaffolding.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> This assignment correlates to the requirements of the English subject curriculum :: </span></div></H2> 
<div class="citajbm"> When planning to help the students build their writing competence, I make sure that this assignment correlates to the requirements of the English subject curriculum (LK06). The planned writing activity covers two main areas in learning the English language. Students will 1) write down their argumentative / persuasive text on a given topic in the ESL classroom (written communication, use different writing strategies, general vocabulary related to different topics, different sources as a bases for writing [model-writing], being able to express ideas and opinions, argue and persuade a general public, in well-structured and coherent texts), and 2) culture, society; they will explain features of the society in the UK, create own texts inspired by short persuasive video clip and cultural forms of expression. (LK06 8-9). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Stimulate students' imagination :: </span></div></H2> 
<div class="citajbm"> This writing activity aims to stimulate students' imagination while helping them produce a multimodal assignment related to familiar environment within argumentative / persuasive text production. Imagination is the basis of all creative activity; it is undoubtedly an important component of all aspects of cultural life. ESL students will carry out the digital and creative writing while accomplishing the requirements of the English subject curriculum (KUF1994, 1996: 4; LK06). It has been my experience that utilizing students’ prior knowledge on technological literacy provides them with the inspiration necessary to create texts. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Scaffolding by experts :: </span></div></H2> 
<div class="citajbm"> The scaffolding during this writing activity will be carried out by me, by modeling aids and by peer-to-peer guidance/small groups of three members each. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Vocabulary related the topic :: </span></div></H2> 
<div class="citajbm"> Before setting this writing task, ESL students had acquired some vocabulary related the topic of this writing activity and we also had discussed what argumentation and persuasion are, which will make a discernible impact when writing/producing their own digital writing. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> The purpose of writing a text :: </span></div></H2> 
<div class="citajbm"> When starting a writing activity it is vital that mentors guide their students to find the purpose of writing a text. When “considering who [their] audience is before [they] write shapes what [they] write” (Gallagher 129-130). In order to find the purpose of writing a text tenth-grade students have to decode the writing prompts, which should be clearly exposed accordingly to the students’ English level. Furthermore, word choice and orthography must be also correct. The genre and writing acts must be familiar to tenth-grade students. In addition, the roles and audience should be clearly specified in the prompt (Normann Lessons 3; Lesson 4).</div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Persuasive adverts / commercials :: </span></div></H2> 
<div class="citajbm"> The modeling effective argumentative / persuasive aids are the most effective / persuasive adverts / commercials from the UK TV.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Modeling the writing task :: </span></div></H2> 
<div class="citajbm"> Before students begin to watch the advertisements from the British TV, and start their writing activity, we watch one of the ads, and I model the writing task on the smart board while explaining step by step as they watch and may ask questions. For this purpose, I utilize one of Gallagher’s advice (123) when using writing models, namely: ‘taking a stand.’ I explain them that the writer of the text in the ad was seeking to persuade audiences to accept a particular position on a product they wanted to sell. Further, I explain them that they also can persuade audiences to accept a particular position on a controversial issue, such as “Instant replay should be allowed in soccer,” “Well-known sport teams should get involved in political campaigns” (Gallagher 123), and so on. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Materials :: </span></div></H2> 
<div class="citajbm"> Materials to be used when working with this writing activity: information and communication technologies (ICTs): microcomputers, tablets, iPads, touch pads, cell-phones, cameras, websites, apps, social networking. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Presenting a decodable prompt for the students. :: </span></div></H2> 
<div class="citajbm"> In class, watch the 14 most effective adverts/commercials from the UK TV and then choose only one; the one you prefer.  <br /> <br />
When you have chosen one ad, you will get the file on your laptop. Put on your headphones and watch the advertisement again, pausing it if needed.   <br /> <br />
Write down in English the message you hear in the video and explain in your own words, in English, how they will convince you to buy their product.  <br /> <br />
Collaborate in groups of three and write together, in English, your text based on the message of the ad you just have watched/written.   <br /> <br />
Then, create your own advertisement in English. Convert your text into an ad.   <br /> <br />
Remember that your ad has to have an argumentative / persuasive text.   <br /> <br />
You don’t have to create an ad on selling a product, but it has to be a persuasive clip. You have to convince a general public why they should buy the product or why they should do what you are advertising. Make them buy or do it by using your words.  <br /> <br />
Use the Twitter app Periscope or any other digital device of your preference to create your own ad.  <br /> <br />
You can write as yourselves or pretending to be someone else, whoever. Remember that everybody will be able to watch your video clip.   <br /> <br />
You don’t have to appear on the video if you don’t want to; you can use pictures, moving images, your own drawings or doodles when you create your video, but record your own voice.  <br /> <br />
If you decide to use someone else’s pictures, you have to write down its source and include it visible on screen.  <br /> <br />
Insulting and cyber-bullying is not allowed when writing your text. Use standard grammar, spelling, and punctuation in your short text.   <br /> <br />
When the class is over you all three can continue on working with your digital and creative assignment.  <br /> <br />
Send me your first-draft text as a computer file, for example, in itsLearning, and I will send you a video feedback before our next class.  </div> <br />

<center><hr WIDTH="75%" COLOR="#00FF00" SIZE="6"></CENTER> <BR/> 
<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> <a name="pdf">Argumentative/Persuasive Text using UK TV commercials</a> :: </strong> </span></span></div> 
<center><hr WIDTH="75%" COLOR="#FF0000" SIZE="6"></CENTER> <BR/> 
<center><div class="fb-like" data-href="http://www.benjaminmadeira.com/2015/05/persuasive-advertisements.html" data-send="true" data-width="450" data-show-faces="false"></div></CENTER> <br />
<div style="text-align: center"> <div class="video-jbm"> <script>vk("176112489&id=171427714&hash=a0cc8c9ebfa6ee9f&hd=1");</script> </div> </div> <br />
<div style="text-align: center"><span style="color: darkgreen"><span style="font-size: 12pt; color: #FFFF00; background-color: #F52887; line-height:13pt"> Fuente: Youtube, Servicios de Internet | Source: Youtube, Video hosting service </span></span></div> <br /> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Model sentences :: </span></div></H2> 
<div class="citajbm"> When developing the writing activities in the ESL classroom, their teacher can model sentences –sentence starters– if necessary while the students give rise to something new (Normann lesson 7).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Collaboration without boundaries :: </span></div></H2> 
<div class="citajbm"> Students will utilize social media or any other digital technologies at each stage of the writing process, which will make collaborative work much flexible to carry on – collaboration without boundaries (DeVoss 23-24). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Online video feedback :: </span></div></H2> 
<div class="citajbm"> Their ESL teacher gives all small groups online video feedback during and after the assignment process. Being online makes learning more participatory. Teachers should embrace short video feedback as a way of giving feed forward response on texts. The recorded descriptive feedback video should be creatively made so it can increase motivation in the recipient; this way, it will assist in facilitating their learning capabilities. It is even more helpful if the teacher provides readable written comments when commenting orally. Besides, it should emphasize strengths, identify challenges and point to the next steps. It should focus on the writing structure, rather than in the language aspects in a first stage of a writing activity to help the students move their work forward (Nation 94; Normann Lessons 11). Students who have difficulties in reading will find the use of the video as the best way of learning. Various studies confirm the fact that “students prefer receiving feedback in the format of sound or video instead of exclusively in written form” (Mathisen 100, 105).  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> If ESL teachers want their students to be better writers, their learners have to write more often, preferably every lesson, and the writing has to be engaging (Normann Lesson 1). By engaging the students in a digital writing activity, the educator will encourage them to reproduce something they have mastered earlier. This activity was based on student needs and technological competencies, “teaching students overtly based on the skills –technological skills– that they have when they enter the [ESL] [classroom]” (Rowsell 56). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Watch some adverts for sweets AND "Write a TV advertisement." How is the advert trying to persuade someone to eat that chocolate or those sweets? PDF :: </span></div></H2> 
<CENTER> <a href="http://www.teachitprimary.co.uk/attachments/10420.pdf?origin=http://www.benjaminmadeira.com/2015/05/persuasive-advertisements.html" title="Write a TV advertisement, PDF" alt="Write a TV advertisement, PDF" target="_blank"><img oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" itemprop="photo" border="0" alt='Write a TV advertisement, PDF - Official Website - BenjaminMadeira' title='Write a TV advertisement, PDF - Official Website - BenjaminMadeira' src="http://1.bp.blogspot.com/-2Ymanory5Hw/VEEJYDTBnII/AAAAAAAATcs/1QS3M7oYCr4/s1600/pdf-BenjaminMadeira-com.gif" height="325px" width="325px" /> </a> </CENTER> <br />

<center><hr WIDTH="75%" COLOR="#00FF00" SIZE="6"></CENTER> <BR/> 
<div style="text-align: center"><span style="color: blue"><span style="font-size: 13pt; line-height:12pt"> <strong> <a name="pdf">Hey, smile, you too can become superbeautiful.</a> :: </strong> </span></span></div> 
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<center><div class="fb-like" data-href="http://www.benjaminmadeira.com/2015/05/persuasive-advertisements.html" data-send="true" data-width="450" data-show-faces="false"></div></CENTER> <br />
<div style="text-align: center"> <div class="video-jbm"> <script>vk("176112489&id=171306986&hash=89c2c46078a7275a&hd=2");</script> </div> </div> <br />
<div style="text-align: center"><span style="color: darkgreen"><span style="font-size: 12pt; color: #FFFF00; background-color: #F52887; line-height:13pt"> Fuente: Youtube, Servicios de Internet | Source: Youtube, Video hosting service </span></span></div> <br /> <br />

<br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] DeVoss, Danielle Nicole, ‎Elyse Eidman-Aadahl, Troy Hicks. Because Digital Writing Matters: Improving Student Writing in Online and Multimedia Environments, 2010. US National Writing Project. San Francisco, CA: Jossey-Bass. Print.  <br /><br />

• [2] Erstad, Ola. Educating the digital generation: Exploring media literacy for the 21st Century.  Journal of Digital Literacy 5.1(2010): 56-72. Print. <br /><br />

• [3] Gallagher, Kelly. Teaching Adolescent Writers. Portland, Me: Stenhouse Publishers, 2006. Print. <br /><br />

• [4] KUF. 1994. Reform 94. ‘Videregående Opplæring’. [‘Reform of the Structure and Content of Upper Secondary Education.’] Oslo, Norway: Kirke-, utdannings- og forskningsdepartementet. <br /><br />

• [5] KUF. 1996. ‘Læreplanverket for Den 10-Årige Grunnskolen’. L97 [‘Curriculum for the 10-Year Compulsory School in Norway.’]. Oslo, Norway: Kirke-, utdannings- og forskningsdepartementet. <br /><br />

• [6] LK06, ‘English subject curriculum,’ revised version (Aug. 2013) The Norwegian LK06, in English; The Norwegian LK06, in Norwegian. Utdanningsdirektoratet (Norwegian Ministry of Education and Research). <br /><br />

• [7] Maley, Alan. Creative writing for language learners (and teachers). BBC, Dec. 2009. Web. Retrieved on May 2015 from http://goo.gl/mqT8gr <br /><br />

• [8] Mathisen, Petter. Video Feedback in Higher Education - A Contribution to Improving the Quality of Written Feedback. UNIVERSITETSFORLAGET, Nordic Journal of Digital Literacy, Vol 7, 2012, nr. 02. Faculty of Humanities and Education/Pedagogical Development Center-PULS. University of Agder, Norway. (2012) Web. Retrieved on May 2015 from http://goo.gl/wdOjp7 <br /><br />

• [9] Nation, Paul. Helping learners write: The writing process: Connecting Research to Practice, K-8. Portsmouth, NH: Heinemann, 2006. Print. <br /><br />

• [10] Normann, Anita. Introduction. Take Credit, NTNU: Lesson 1, 2015. Web. Retrieved on May 2015 from https://goo.gl/s9Czy0<br /><br />

——— Building writing competence -1. Take Credit, NTNU: Lesson 3, 2015. Web. Retrieved on May 2015 from https://goo.gl/hJGoHq <br /><br />

——— Building writing competence -2. Take Credit, NTNU: Lesson 4, 2015. Web. Retrieved on May 2015 from https://goo.gl/Kkhp5L <br /><br />

——— Creative writing. Take Credit, NTNU: Lesson 7, 2015. Web. Retrieved on May 2015 from https://goo.gl/hJGoHq <br /><br />

——— Revising and editing texts. Take Credit, NTNU: Lesson 11, 2015. Web. Retrieved on May 2015 from https://goo.gl/de96fZ <br /><br />

• [11] Rowsell, Jennifer, and Maureen Walsh. Rethinking Literacy Education in New Times: Multimodality, Multiliteracies, & New Literacies. Brock Education, Volume 21, No. 1, Fall 2011, 53-62. Print. <br /><br />

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