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Example of a Protocol Protocol Prompt from Kurt Vonneguts Harrison Bergeron What is the ambiguity of Harrisons heroic rebellion against his society?
Anonymous
Custom writing service can write essays on black fiction
D.K. Peterson
English 10
February , 1
Harrison Bergeron
Harrison Bergeron by author Kurt Vonnegut, Jr. tells the story of a town in the twenty-first century where everyone is equal. Equal by any means necessary. The individuals who are above average in any capacity are given artificial handicaps from the Handicapper-General so that their individual talents are not above anyone elses.
It is the exceptional, intelligent, and handsome Harrison Bergeron who is put in jail for the extraordinary qualities he possesses. Harrison is a genius, and outgrows handicaps faster than they can put them on him. Harrison escapes from jail and goes to the news studio and announces to the town his intentions.
Vonnegut uses Harrisons rebellious act as a tool in the last scene to give the story its open-ended conclusion. In the last scene of Harrison Bergeron, Harrison claims, I am the Emperor! Cried Harrison. Do you hear? I am the Emperor! Everybody must do what I say at once! He stamped his foot and the studio shook (15). It is in this scene Harrison is demanding that the people listen and do what he says immediately. Even as Harrison is screaming, the people are bowing down before him at his mercy, thinking they will die if they do not follow his orders.
Vonnegut is showing the audience that Harrison is powerful and above all those in his community and that he is going to exercise his power. This act of rebellion allows the audience to think Harrison wants to be ruler of the people, and shows that the people in town feel Harrison has authority over them, an example of exactly what a ruler is. It is in the following scene that Vonnegut gives his audience unsure feelings about the storys end. Harrison says, Even as I stand here-he bellowed, crippled, hobbled, and sickened- I am a greater ruler than any man who ever lived! Now watch me become what I can become!(15). In this scene Harrison speaks in a rage, but also in somewhat of a desperate manner towards the people. The authors careful choosing of words illustrates the ambiguity of the last scene. The author states that Harrison bellowed, which means he cried or uttered in a loud voice. The audience is left to wonder whether Harrison was forceful, or pleading. However, Harrison expresses to the people that he is physically torn down, but even with this, he still is mentally powerful.
It is when Vonnegut ends the story with Harrison tearing off his handicaps that leaves the ending of the story open to interpretation as to what Harrisons true intentions are. Does Harrison really desire to be the ruler of the people? Or does Harrison just want to be the ruler for the moment so that he can persuade the people to rid themselves of their handicaps, in order for them to see what they can become? By ending the story like this, the audience can only know what truly happens. Otherwise, the audience must use its own interpretation and provide their own ending.
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Research Writing & the Revision/Rethinking Process
Example of an Anonymous Proposal/Research Paper/Revision on Zora Neale Hurston
Example of a Research Proposal
Anonymous
Professor D.K. Peterson
English 10
March ,1
Word Count 46
Zora Neale Hurston was a very controversial writer. My interest in Hurstons writings concerns her use of strong female characters and the language they used. My research paper will analyze Hurstons reasoning for using such strong female characters during a time when females were not supposed to be outspoken. I also intend to explain why Hurston used the dialect she used in her stories and why it became controversial. The language of Hurstons characters is a mixture of slang and southern accent. I will discuss how although language of this type ordinarily labels one as illiterate and weak, Hurstons female characters, despite using this language, are portrayed as strong.
Throughout my research paper I will discuss the many questions surrounding Hurstons writings. I will do this by focusing on two female characters, language, and the setting. I believe that using these three areas of analysis will allow me to successfully answer questions about Hurstons writing style. In my approach, I plan to use two of Hurstons works, Their Eyes Were Watching God, and her short story, Sweat. These two works will allow me to explore the female aspect of my project. Through two of the women characters in these works, I will explore linguistics, dialect, word choice, pacing, syntax and moments of long speech. Observing these areas of language will allow me to see how and why Hurston has such strong female characters. I will briefly touch upon the setting within these works, to bring out social and historical factors, which may have contributed to Hurstons deliberate choice of characters and language. In my research paper I will use the two works previously stated, along with a Website dedicated to Hurston. There are at least four other scholarly secondary sources I plan to use for my research.
I suspect that my research of Hurstons writing approach will reveal that it was racial and gender discrimination that inspired Hurstons style of writing. It is important to know that Hurstons writing was not socially accepted until years after her death. Nevertheless, Hurstons works make a great contribution to female literature and black history. My research will cover every aspect mentioned, as well as help one understand why an author would choose such an unpopular writing approach at that time.
Works Cited
Hurston, Zora Neale. Sweat. The Story and Its Writer An Introduction to Short
Fiction. Ed. Ann Charters. Boston Bedford St. Martins, 1. (678-687).
Hurston, Zora Neale. Conjured Into Being Zora Neale Hurston. Tim Gallaher, USC E texts. Online. Internet. 8 October 17. Available
http 11 www. ñ hsc. usc.edu/ ~ gallaher/ hurston/ hurston. html.
Hurston, Zora Neale. Their Eyes Were Watching God. Philadelphia Lippincott, 17.
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Example of a Research Paper on Zora Neale Hurstons Work Using a Feminist and Semiotic Approach
Anonymous
Professor D.K. Peterson
English 10
March 0, 1
Word Count
The Cultural Voice
The author, Zora Neale Hurston, was a very controversial writer. During Hurstons life-time, she chose to use southern black dialect as the primary language for her works. In addition to this literary style, Hurston voiced southern black dialect through black women. It was the use of this dialect, as opposed to standard English, and Hurstons choice to allow women to have a more affirmative role in her stories, that made Hurston so controversial among both whites and blacks. Hurstons writings were not accepted among whites because she declared her first novel a manifesto against the arrogance of whites assuming that black lives are only defensive reactions to white actions (Gates 18). Black authors did not embrace Hurstons writings because they were not written in the protest tradition, not bitter enough, and did not depict the harsher side of black life in the south (Washington vii-viii).
Hurstons use of southern black dialect is no reflection of her own literacy of the English language. Hurston achieved several academic accomplishments by obtaining her degree, teaching, and later studying linguistics overseas. Hurston also had famous acquaintances, such as Fannie Hurst and Robert Hemenway, who were also writers. It was this flourishing background that enabled Hurston the opportunity to produce published works that are considered successful today, however the success of her works were not recognized until after her death.
Hurstons accomplishments would, however, be enjoyed and benefited by a new generation of new black female writers, such as Gloria Naylor, Toni Morrison and Alice Walker. Alice Walker has stated that Their Eyes Were Watching God had a profound effect upon her writing and that if she were marooned on a desert island with only ten books, Hurstons masterpiece would be among those she would choose to take with her (Johnson 501). These writers have continued Hurstons tradition by writing and publishing works in southern black dialect. It was Hurston who pioneered the movement to keep black dialect alive. As Karla F.C. Holloway expressed, Hurston understood that the language of a people is as important an indication of their culture as are other behavioral manifestations (Holloway ).
In Hurstons works the use of black dialect is very prevalent, and it appears Hurston was trying to involve the reader in the African-American Culture. For example, in Hurstons novel, Their Eyes Were Watching God and her short story Sweat, each story took place in an African-American community. In both works, the black race politically and socially ran a community of their own during a time when freedom was only slowly coming about. To the scholarly reader, it was difficult to imagine blacks in such affluent positions while at the same time speaking broken English. How could blacks have power yet, could not even speak standard English? In Hurstons world it was possible. Hurston even went a step further and developed within these stories two strong black women, Janie Starks and Delia Jones. These women had strong opinions and Hurston would allow them to voice them one way or another. How was Hurston able to create such strong female characters, who spoke a language not widely accepted, during a time when women were not allowed to voice themselves at all? Hurston was so talented she used a combination of writing styles, involving word choice, pacing, and silent and explosive speech to develop the characters voice. These styles of writing allowed Hurston to show readers that voice can be represented in several varieties and still be powerful.
Hurstons Their Eyes Were Watching God opens with Janie telling her best friend, Pheoby, about the events of her dramatic life. The reason Hurston frames the story in this manner is to indirectly provide Janie with voice. As analyst Karla Kaplan explained, Like Jane in Jane Eyre, Janie wants to narrate her own story, exercise her voice, and participate in what Jane calls the joyous conversational murmur (Kaplan 101). By allowing Janie to tell her story with minimal narrative intrusion, Janies character is put into an authoritative position. Although the scene begins with Janie ending her story, it is only at this point that Janie can tell her story effectively and show the audience the strong black female she has become.
In Janies early years, she decides to do what is pleasing to her grandmother and becomes married at age 15 to a much older man, Logan Killicks. All along, Janie has not felt the blissful love she had dreamed of so many times and Janie decides less than a year into the marriage that Logan is not for her. Janies recent offer to leave and marry a new comer, Joe Starks, opens the doors for Janie to leave. Janie does not leave solely to be with Joe Starks, however. Janie leaves because she realizes there was nothing in her marriage for her. Janie is maturing and making decisions that are in her best interest. Hurston says, What was she losing so much time for? A feeling of sudden newness and change came over her. Janie hurried out of the front gate and turned south. Even if Joe was not there waiting for her, the change was bound to do her good (Hurston, Eyes 1). In this scene Janie is silent in her decision making. Janies silent voice is so boisterous because the action she has taken is very bold. Janies choice says her leaving will take place, whatever the consequences may be.
Janies decision proved favorable for her after she married Joe Starks, a man with big dreams and determination. However, when Joe Starks becomes Mayor, Janie realizes that Joe intends for her to be silent at all times and beautiful in the publics eye. When Janie is asked by the towns people to make a speech on behalf of Joes victory as Mayor, Joe speaks for Janie saying, Thank yuh fuh yo compliments, but mah wife dont know nothin bout no speech-makin. Ah never married her for nothin lak dat. Shes uh woman and her place is in da home (Hurston Eyes 41). This leaves a restless feeling inside Janie and it begins to open her eyes to many things she never thought of doing.
After several times of being publicly demeaned by Joes insults about her weight and age, Janie decides she will no longer be the target of Joes abuse. Janies reaction to this humiliation is to voice her deepest feelings about Joe. On one occasion, Janie takes the center of the floor to talk right-into Joes face (Hurston, Eyes 74 Eyes), and loudly insults Joe in front of all the community. Janie subconsciously knew there would be a price to pay for this act, but nonetheless, voicing her opinion seemed more important. As a result, Joe struck Janie fiercely and for years to come the couples conversation comes to a cease.
Soon after, Joe would suffer a premature death due to a failed liver. After Joes death, Tea Cake comes to town and Janies dream of a blissful marriage begins to resurface. Tea Cake is much younger, and loves Janie unconditionally. The two soon wed and Janie experiences the marriage that she so often dreamed of.
The voice Janie acquires in her relationship with Tea Cake is not controlled, it is free, spontaneous and loving. However, a few years into the marriage Tea Cake is poisoned by a rabid dog and in his delirious state, attempts to kill Janie. Janie is forced to kill Tea Cake and save her own life and has to stand trial for his death. In the scene of the trial, Janies voice develops in three forms language, silence and speech. Janie is aware that her trial will be held in front of her community, as well as white people and it would be the white folk who would decide her outcome. Janie knew her language was different than the white folks language and her testimony could be misinterpreted to mean that she meant to kill Tea Cake. As Hurston says, It was not death she feared. It was misunderstanding (Hurston, Eyes 17).
In this scene, it is Janies speech in her own defense, the choice of words and language she uses and the silence she expresses while waiting for the verdict, that show Hurstons overall development of Janies true voice. While Janie tells such a lengthy story in her own language, Hurstons point of Janie being a strong black woman with voice is given a fuller meaning. As Evelyn Thomas stated, With her gift for capturing authentic sounds and syntax, she can write long passages in dialect without wearying her reader (Helmick 58). The talent Hurston possessed was very important when writing about her culture because it allowed any reader to be culturally involved. Hurstons other works operate with the same premise and writing style, in particular her short work Sweat. Sweat tells the story of Delia Jones struggle to escape the torture of her violent husband, Sykes, without Delia compromising what she has worked so hard for. Unlike Janie in Eyes, Delia is outspoken in the beginning of her story, but as the story progresses, she speaks only to herself.
Delias first confrontation involves her defending herself against her husband regarding her livelihood, washing white folks clothes. Hurston combines black and white races in this town to show a higher level of authority. This is important to the story because as another quarrel occurs between the two, Delia threatens ahm goin tuh de white folks bout you, mah young man, de very nex time you lay yo hans on me (Hurston, Sweat 684). Hurston allowed Delia to voice her refusal to be abused anymore and at the same time strip Sykes of his power.
During this period of time, the men were the leaders and the women had no say so. Furthermore, the black man was just coming into his own freedom and he definitely did not want a white man involved in his affairs. When Hurston allowed Delia to voice herself by this method, it was the most potent speech Delias character voiced. Thereafter, Delia is portrayed as one who speaks silently to herself, with such strong words and actions that they would have profound outcomes. For example, when Sykes left the house after an argument with Delia, Somehow, before sleep came, she found herself saying aloud Oh well, whatever goes over the Devils back, is got to come under his belly. Sometime or ruther, Sykes, like everybody else, is gointer reap his sowing. After that she was able to build a spiritual earthworks against her husband. His shells could no longer reach her. Amen (Hurston, Sweat 680). The purpose of Delias silence is to show that there were other avenues women could call upon, a higher Being that could hear their silent voice in time of need. Delias role would be to silence herself and wait patiently for the ultimate power.
In the closure of this story Delia is almost killed by a snake her husband placed in the home to kill her. After Delias courageous escape and fleeing to the barn, Finally she grew quiet, and after that came coherent thought. With this stalked through her a cold, bloody rage. Hours of this. A period of introspection, a space of retrospection, then a mixture of both. Out of this an awful calm (Hurston, Sweat 685-86). Delia goes on to say, Well, ah done de bes Ah could. If things aint right, Gawd knows taint mah fault (Hurston, Sweat 685-86). When Delia speaks these words, the audience is aware Sykes will die. Hurston purposely did this to build Delias character of strength and perseverance. Delias character of a true black woman is illustrated through the language she speaks as well as her unspoken words of conviction.
Although Hurston crafted both characters in an opposite manner, Janie more verbal than Delia, Hurston gave the women similar qualities such as enduring violence, speaking out when seemingly defeated, and the strength and the energy to keep on going until their silent voices came into fruition. Within these two works Hurston has kept black literature alive and opened the eyes of black females everywhere who not only face racial discrimination, but gender discrimination as well. As Henry Louis Gates, Jr. stated, Their attention to Hurston signifies a novel sophistication in black literature they read Hurston not only for the spiritual kinship inherent in such relations but because she used black vernacular speech and rituals in ways subtle and various, to chart the coming to consciousness of black women, so glaringly absent in other(Gates 186-87).
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