In an operant procedure with a pigeon learning to peck a red…
Questions
In аn оperаnt prоcedure with а pigeоn learning to peck a red light to obtain food, the red light is an example of:
Fоr undergrаduаte students, essаys shоuld be at least 400 wоrds. For graduate students, essays should be at least 600 words. Long, extensive introduction are not necessary. State your central claim and support with detail, not summary, in cohesive, developed paragraphs. *************************************************************Drawing on at least three course texts--from at least two different formal genres (novel, poem, film, play) and two different course units--that represent protest as a scene or event, write an essay evaluating literature’s ability to represent protest as a lived experience—in other words, consider protest as embodied (bodies in motion, vulnerability, proximity), sensory (sound, movement, confusion), temporal (events unfolding unpredictably), and relational (interactions among protesters, police, and bystanders in specific spaces). Focus your analysis on one or two of these key dimensions of lived experience listed above and analyze how literary techniques create a sense of immediacy or distance in your chosen texts. Your essay should advance a clear central claim and support it with reference to the texts (don’t just summarize). Consider the following questions as you develop your essay: What aspects of protest—such as crowd dynamics, movement, sound, confrontation, violence, or solidarity—are most effectively captured in literary form, and how do techniques like narrative perspective, imagery, structure, and dialogue create a sense of immediacy?How do texts use characterization to depict protest as a social experience: do they emphasize individual consciousness or collective actors, and how are readers aligned with particular figures?How does the choice of genre affect the effectiveness of representation? Incorporate or conclude with consideration of what resists representation: scale, chaos, simultaneity, collective consciousness, or unstable perception.Course Units and Texts: 1) The Sixties and the War: Norman Mailer, Armies of the Night; David Hassler, May 4th Voices; Deborah Wiles, Kent State; Gary Geddes, “Sandra Lee Scheuer”; Crosby, Stills, Nash, Young, “Ohio”2) From Protest to Riot: John Lewis, March; Maya Angelou, from A Song Flung Up to Heaven; Gwendolyn Brooks, Riot; Anna Deavere Smith, Twilight: Los Angeles, 1992; Ryan Gattis, All Involved; Ava DuVernay (dir), Selma; “There’s A Riot Going On” Doogie Howser, M.D.; Justin Chon, Gook3) On a Global Scale: Ha Jin, Looking for Tankman; Sunil Yapa, Your Heart is a Muscle the Size of a Fist; Stuart Townsend (dir), Battle for Seattle