APush History Term Paper Essay Example for Free

APush History Term Paper Essay Robert La Follette, the son of a small farmer, was born in Dane County, Wisconsin, on 14th June, 1855. He worked as a farm labourer before entering the University of Wisconsin in 1875. In 1876 La Follette met Robert G. Ingersoll. He later recalled: Ingersoll had a tremendous influence upon me, as indeed he had upon many young men at the time. It was not that he changed my beliefs, but he liberated my mind. Freedom was what preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. After graduating in 1879 he set up as a lawyer and the following year became District Attorney of Dane County. Elected to Congress as a Republican, La Follette was extremely critical of the behaviour of some of the party bosses. In 1891, La Follette announced that the state Republican boss, Senator Philetus Sawyer, had offered him a bribe to fix a court case. Over the next six years La Follette built up a loyal following within the Republican Party in opposition to the power of the official leadership. Proposing a programme of tax reform, corporation regulation and an extension of political democracy, La Follette was elected governor of Wisconsin in 1900. Once in power La Follette employed the academic staff of the University of Wisconsin to draft bills and administer the laws that he introduced. He later recalled: I made it a policy, in order to bring all the reserves of knowledge and inspiration of the university more to the service of the people, to appoint experts from the university wherever possible upon the important boards of the state the civil service commission, the railroad commission and so on a relationship which the university has always encouraged and by which the state has greatly profited. La Follette was also successful in persuading the federal government to introduce much needed reforms. This included the regulation of the railway industry and equalized tax assessment. In 1906 La Follette was elected to the Senate and over the next few years argued that his main role was to protect the people from the selfish interests. He claimed that the nations economy was dominated by fewer than 100 industrialists. He went on to argue that these men then used this power to control the political process. La Follette supported the growth of trade unions as he saw them as a check on the power of large corporations. In 1909 La Follette and his wife, the feminist, Belle La Follette founded the La Follettes Weekly Magazine. The journal campaigned for womens suffrage, racial equality and other progressive causes. Lincoln Steffens argued: La Follette is the opposite of a demagogue. Capable of fierce invective, his oratory is impersonal; passionate and emotional himself, his speeches are temperate. Some of them are so loaded with facts and such closely knit arguments that they demand careful reading, and their effect is traced to his delivery, which is forceful, emphatic, and fascinating. Art Young, The Masses (1917) La Follette supported Woodrow Wilson in the 1912 presidential election and approved his social justice legislation. However, he complained that he was under the control of big business and was totally opposed to Wilsons decision to enter the First World War. Once war was declared La Follette opposed conscription and the passing of the Espionage Act. La Follette was accused of treason but was a popular hero with the anti-war movement. Lincoln Steffens was a great supporter of La Follette: Governor La Follette was a powerful man, who, short but solid, swift and willful in motion, in speech, in decision, gave the impression of a tall, a big man what I saw at my first sight of him was a sincere, ardent man who, whether standing, sitting, or in motion, but the grace of trained strength, both physical and mental Rather short in stature, but broad and strong, he had the gift of muscled, nervous power, he kept himself in training all his life. His sincerity, his integrity, his complete devotion to his ideal, were indubitable; no one who heard could suspect his singleness of purpose or his courage. La Follette became the candidate of the Progressive Party in the 1924 presidential election. Although he gained support from trade unions, individuals like Fiorello La Guardia and Vito Marcantonio, the Socialist Party and the Scripps-Howard newspaper chain, La Follette and his running partner, Burton K. Wheeler, only won one-sixth of the votes. Robert La Follette died on 18th June, 1925.

Use of Symbolism in Hawthornes The House of the Seven Gables Essay

Use of Symbolism in Hawthorne's The House of the Seven Gables In the novel The House of the Seven Gables, Hawthorne portrays Alice Pyncheon as a unique and compelling character, placing her in contrast with a story full of greed, lies and betrayal. Hawthorne reveals her fantastic character to us in numerous uses of symbolism throughout the novel. By painting a picture of a gentle yet proud woman, Hawthorne chooses to represent Alice's impressive characteristics using images that come up repeatedly in his novel such as the nature and flowers in the garden as well as Alice's Posies. Hawthorne also makes reference to the Maule "mastery" and its power over Alice and the playing of the harpsichord during a Pyncheon death. All the symbols culminated above, lead to an in depth analysis of Alice Pyncheon's character, her innocence, pride, beauty and mournful sorrow. According to Hawthorne, Alice had an uncanny resemblance to the flowers of the Pyncheon garden represented by her beauty and presence. Just as flowers hold a purity and freedom in their appearance, Alice was described as a "lady that was born and set apart from the world's vulgar mass by a certain gentle and cold stateliness" (178). Her strong appearance, as Hawthorne states, was "combined of beauty, high, unsullied purity, and the preservative force of womanhood" (180). Hawthorne shows that Alice represents the beauty of a flower as well as its scent when he says "the fragrance of her rich and delightful character still lingered . . . as a dried rosebud scents the drawer where it has withered and perished" (79). Even after her death, the "scent" of Alice's character still haunts the House of the Seven Gables with its beauty and tenderness like that of the flo... ... on a note from Alice's harpsichord off a new sheet of music for the Pyncheon family. By using the nature of the garden to prolong the tenderness and purity of Alice's character and spirit even after death, Hawthorne entices the reader to dig deeper into the character of Alice Pyncheon and search for the symbols present that shape her undying character. With her loss of pride to the Maule "mastery" and the sorrow expressed through her untimely and unnecessary death, there is no question as to why Alice's harpsichord plays such a mournful tune throughout the novel. It is only in the end that her life and her happiness are rewarded and her long awaiting spirit is drawn towards the heavens to have her spirit rest in peace. Works Cited Hawthorne, Nathaniel. The House of the Seven Gables. New York: The New American Library of World Literature, Inc, 1961. Use of Symbolism in Hawthorne's The House of the Seven Gables Essay Use of Symbolism in Hawthorne's The House of the Seven Gables In the novel The House of the Seven Gables, Hawthorne portrays Alice Pyncheon as a unique and compelling character, placing her in contrast with a story full of greed, lies and betrayal. Hawthorne reveals her fantastic character to us in numerous uses of symbolism throughout the novel. By painting a picture of a gentle yet proud woman, Hawthorne chooses to represent Alice's impressive characteristics using images that come up repeatedly in his novel such as the nature and flowers in the garden as well as Alice's Posies. Hawthorne also makes reference to the Maule "mastery" and its power over Alice and the playing of the harpsichord during a Pyncheon death. All the symbols culminated above, lead to an in depth analysis of Alice Pyncheon's character, her innocence, pride, beauty and mournful sorrow. According to Hawthorne, Alice had an uncanny resemblance to the flowers of the Pyncheon garden represented by her beauty and presence. Just as flowers hold a purity and freedom in their appearance, Alice was described as a "lady that was born and set apart from the world's vulgar mass by a certain gentle and cold stateliness" (178). Her strong appearance, as Hawthorne states, was "combined of beauty, high, unsullied purity, and the preservative force of womanhood" (180). Hawthorne shows that Alice represents the beauty of a flower as well as its scent when he says "the fragrance of her rich and delightful character still lingered . . . as a dried rosebud scents the drawer where it has withered and perished" (79). Even after her death, the "scent" of Alice's character still haunts the House of the Seven Gables with its beauty and tenderness like that of the flo... ... on a note from Alice's harpsichord off a new sheet of music for the Pyncheon family. By using the nature of the garden to prolong the tenderness and purity of Alice's character and spirit even after death, Hawthorne entices the reader to dig deeper into the character of Alice Pyncheon and search for the symbols present that shape her undying character. With her loss of pride to the Maule "mastery" and the sorrow expressed through her untimely and unnecessary death, there is no question as to why Alice's harpsichord plays such a mournful tune throughout the novel. It is only in the end that her life and her happiness are rewarded and her long awaiting spirit is drawn towards the heavens to have her spirit rest in peace. Works Cited Hawthorne, Nathaniel. The House of the Seven Gables. New York: The New American Library of World Literature, Inc, 1961.

Manipulation in William Shakespeare’s Othello

Manipulation in William Shakespeare’s â€Å"Othello† In William Shakespeare’s play â€Å"Othello†, almost every character, and even the audience, is manipulated at least once. Iago, the villain, is responsible for most of this betrayal. He is a master at the art of deception. He gains the trust of the other characters by posing as a concerned friend. When they confide in him, he uses their weakness against them. He treats each character differently, telling them what they want to hear. He is so cunning that they are unaware of the manipulation and, after each encounter, trust him even more.With each lie, he moves closer to his goal of destroying Othello. Iago weaves an intricate web of deception. First, he targets Rodrigo. He preys on Rodrigo’s love for Desdemona and convinces him he can gain her affection if he helps him. Iago convinces Rodrigo that Desdemona will end her relationship with Othello if her father disapproves. Then, the two plot to in volve Brabantio, Desdemona’s father. Iago speaks of how he will destroy Brabantio’s faith in his daughter when he says â€Å"Call up her father. Rouse him. Make after him; poison his delights† (1. 1. 70).He hereby manipulated Rodrigo, Brabantio, Desdemona and Othello in one swoop, still appearing to be the trustworthy confidant. The theme is further demonstrated through Iago’s manipulation of Othello, his main target. He is upset with his superior for promoting Cassio over him and has heard rumors that Othello slept with his wife. So, he begins planting the idea that Desdemona has been unfaithful with Cassio in Othello’s head. Iago says â€Å"Look to your wife. Observe her well with Cassio† (3. 3. 211). He proceeds to gain Othello’s trust and cultivates his deceit.He tells Othello he will get proof from Cassio by letting him listen in on their conversation. Cassio speaks of is date with Bianca, but Iago leads Othello to believe they a re talking about Desdemona. At one point, Iago even enlists his wife to steal Desdemona’s handkerchief, which he uses to further convince Othello of her infidelity. When his manipulation results in Othello murdering his wife and finally committing suicide, Iago achieves his goal of vengeance. Iago manipulates each character through their individual weakness until his plan is complete.He plays each person against each other for his agenda. Meanwhile he remains to be seen as the good guy. Blinded by their own inequities, Iago preys upon his unsuspecting victims and uses the as pawns in his elaborate plan to destroy Othello. They are easily manipulated by their trusted friend. Iago is so masterful in his deception at times even the audience is almost fooled by his misleading charm. Works Cited Shakespeare, William. â€Å"Othello. † Gioia, X. J. Kennedy and Dana. Literature An Introduction to Fiction, Poetry, Drama, and Writing 7th Edition. Boston: Peason, 2013. 1009-1102. print.

Hama Rules - Syrian Massacre of Muslim Brotherhood

Hama is Syrias fourth largest city after Aleppo, Damascus, and Homs. It is located in the northwestern part of the country. In the early 1980s, it was a stronghold of the Syrian Muslim Brotherhood, which was working to topple the minority, Alawite regime of then-Syrian President Hafez el Assad. In February 1982, Assad ordered his military to demolish the city. New York Times reporter Thomas Friedman called the tactic Hama Rules. Answer Syrian President Hafez el Assad took power in a military coup on November 16, 1970, when he was the minister of defense. Assad was an Alawite, a splinter Islamic sect that makes up about 6 percent of the Syrian population, which is predominantly Sunni Muslim, with Shiites, Kurds and Christians forming other minorities. Sunnis make up more than 70 percent of the population. As soon as Assad took over, the Syrian branch of the Muslim Brotherhood began to plan for his overthrow. By the late 1970s, a slow-simmer, but persistently violent guerilla war was being waged against Assads regime as bombs went off outside Syrian government buildings or Soviet advisers or members of Assads ruling Baath Party were shot in frequent attacks or taken hostage. Assads regime responded with abductions and assassinations of its own. Assad himself was the target of an assassination attempt on June 26, 1980, when Muslim Brotherhood threw two hand grenades at him and opened fire when Assad was hosting the Mali head of state. Assad survived with a foot injury: hed kicked away one of the grenades.​ Within hours of the assassination attempt, Rifaat Assad, Hafezs brother, who controlled the states Defense Companies, sent 80 members of those forces to Palmyra Prison, where hundreds of Muslim Brotherhood members were being held. According to Amnesty International, the soldiers were divided into groups of 10 and, once inside the prison, were ordered to kill the prisoners in their cells and dormitories. Some 600 to 1,000 prisoners are reported to have been killed. ... After the massacre, the bodies were removed and buried in a large common grave outside the prison. That was just a warm-up for what was to come later, as surprise searches of Muslim Brotherhood households became frequent, as did curbside executions in Hama, as well as torture. The Muslim Brotherhood stepped up its attacks, murdering dozens of innocent people. In February 1982, Friedman wrote in his book, From Beirut to Jerusalem, President Assad decided to end his Hama problem once and for all. With his sad eyes and ironic grin, Assad always looked to me like a man who had long ago been stripped of any illusions about human nature. Since fully taking power in 1970, he has managed to rule Syria longer than any man in the post-World War II era. He has done so by always playing by his own rules. His own rules, I discovered, were Hama Rules. On Tuesday, Feb. 2, at 1 a.m., the assault on Hama, a Muslim Brotherhood stronghold, began. It was a cold, drizzly night. The city turned into a scene of civil war as Muslim Brotherhood gunmen immediately responded to the attack. When close-quarter combat looked to disadvantage the Syrian forces of Rifaat Assad, he turned tanks loose on Hama, and over the next several weeks, large parts of the city were demolished and thousands executed or killed in the battles. When I drove into Hama at the end of May, Friedman wrote, I found three areas of the city that had been totally flattened--each the size of four football fields and covered with the yellowish tint of crushed concrete. Some 20,000 people were killed at Assads orders. That is Hama Rules.