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ACP US History/English 11H Seminar: September 12
Transcript of ACP US History/English 11H Seminar: September 12
ACP US History/English 11H Seminar: Tuesday, September 11th
1. How can social media negatively impact your opportunities?
2. How does mass hysteria affect groups?
Tuesday, September 11th
Using your Chrome book, please access Canvas. Go to the chapter 4 module (Slavery, Freedom, and the Struggle for Empire). Read "Virginia's Slave Codes" and "Slave Codes." After you have read both, click on Chapter 4 Slavery and answer the two questions.
1. Slave Codes
--read two documents and answer questions Canvas
2. Chapter 4 notes: Slavery in North America
3. How is mass hysteria achieved and what does it look like?
--research the psychology of mass hysteria and take notes
--reenact a situation in which mass hysteria occurred in America
--connect your research to the event: how did people behave and why did they
4. Background information on Puritans
HW: chapter 3 & 4 quiz on Monday, September 18th
: read article on Puritanism for Thursday
More Information: Mass Hysteria
Thursday, September 13th
ACP US History/English 11 H Seminar: Thursday, September 13th
1. One last point about mass hysteria
2. Background information on Puritans raising children
--how Puritan children are raised
3. Arthur Miller and the Red Scare
--background information about Miller's time period
--why he chose Salem
4. Chapter 4 Notes: Freedom of Expression and its Limits
--read page 151/157-158-->Zenger
--discussion of reading
5. The Seven Years War/French and Indian War
--read "Middle Ground," "Seven Years' War," "A World Transformed"
--go to Canvas, with your group, answer questions on Seven Year's War (chapter 4 module)
6. The Crucible
--start Act I
HW: Using Canvas and your textbook, answer Colonial Tensions (in chapter 4 module)
*You will need to read about Pontiac, Stono and Paxton in order to answer the question.*
: Quiz over chapters 3 & 4 on Monday
1. How does mass hysteria work in the minds of humans?
2. Why did Arthur Miller write about Salem?
We will be discussing the article you read about Puritanism first. Please take out your responses and your poetry responses. and be prepared to discuss what you found.
"The Crucible" was an act of desperation. Much of my desperation branched out, I suppose, from a typical Depression--era trauma--the blow struck on the mind by the rise of European Fascism and the brutal anti-Semitism it had brought to power. But by 1950, when I began to think of writing about the hunt for Reds in America, I was motivated in some great part by the paralysis that had set in among many liberals who, despite their discomfort with the inquisitors' violations of civil rights, were fearful, and with good reason, of being identified as covert Communists if they should protest too strongly.
In any play, however trivial, there has to be a still point of moral reference against which to gauge the action. In our lives, in the late nineteen-forties and early nineteen-fifties, no such point existed anymore. The left could not look straight at the Soviet Union's abrogation of human rights. The anti-Communist liberals could not acknowledge the violations of those rights by congressional committees. The far right, meanwhile, was licking up all the cream. The days of "J'accuse" (expression of outrage and accusation against someone powerful) were gone, for anyone needs to feel right to declare someone else wrong. Gradually, all the old political and moral reality had melted like a Dali watch. Nobody but a fanatic, it seemed, could really say all that he believed.
Why I Wrote the Crucible by Arthur Miller
I had read about the witchcraft trials in college, but it was not until I read a book published in 1867--a two-volume, thousand-page study by Charles W. Upham, who was then the mayor of Salem--that I knew I had to write about the period. Upham had not only written a broad and thorough investigation of what was even then an almost lost chapter of Salem's past but opened up to me the details of personal relationships among many participants in the tragedy.
But as the dramatic form became visible, one problem remained unyielding: so many practices of the Salem trials were similar to those employed by the congressional committees that I could easily be accused of skewing history for a mere partisan purpose. Inevitably, it was no sooner known that my new play was about Salem than I had to confront the charge that such an analogy was specious--that there never were any witches but there certainly are Communists.
"As with most humans, panic sleeps in one unlighted corner of my soul."
The more I read into the Salem panic, the more it touched off corresponding ages of common experiences in the fifties: the old friend of a blacklisted person crossing the street to avoid being seen talking to him; the overnight conversions of former leftists into born-again patriots; and so on. Apparently, certain processes are universal. When Gentiles in Hitler's Germany, for example, saw their Jewish neighbors being trucked off, or others in Soviet Ukraine saw the Kulaks sing before their eyes, the common reaction, even among those unsympathetic to Nazism or Communism, was quite naturally to turn away in fear of being identified with the condemned. As I learned from non-Jewish refugees, however there was often a despairing pity mixed with "Well, they must have done something." Few of us can easily surrender our belief that society must somehow make sense. The thought that the state has lost its mind and is punishing so many innocent people is intolerable. And so the evidence has to be internally denied…
For others, it may simply be a fascination with the outbreak of paranoia that suffuses the play--the blind panic that, in our age, often seems to sit at the dim edges of consciousness.