Kongo is a Bantu language spoken by Kongo people living in the Democratic Republic of the Congo, the Republic of the Congo, Angola and Gabon. Examine the following data from Kongo, paying particular attention to the distribution of alveolar and post-alveolar stops/affricates and fricatives ([t, s, z] and [t͡ʃ, ʃ, ʒ]). Assume that [t] is [+anterior]and [t͡ʃ] is [−anterior].

 

                               tobolɑ ‘to bore a hole’         t͡ʃinɑ ‘to cut’                       kesokɑ ‘to be cut’
                               knoʃi ‘lion’                             zengɑ ‘to cut’                    ʒimɑ ‘to stretch’
                               kɑsu ‘emaciation’                 t͡ʃibɑ ‘banana’                    nselele ‘termite’
                               lolonʒi ‘to wash’                   zevo ‘then’                         ɑʒimolɑ ‘alms’
                               nzwetu ‘our house’              kunezulu ‘to heaven’         tɑnu ‘five’

 

1. List the segments that occur after the following groups of sounds:

a. [t, s, z] occur before:

b. [t͡ʃ, ʃ, ʒ] occur before:

 

2. Now restate the contexts from the previous question in terms of features. (You may use “elsewhere”.)  

a. [t, s, z] occur before:
b. [t͡ʃ, ʃ, ʒ] occur before          

3. Write a single rule in formal notation that relates underlying representations to surface representations.        

4. Show derivations for the following surface forms by stating the underlying representation for each form and showing the output of the rule. Remember to use the correct brackets.  
UR 
Rule 
SR                       [knoʃi]           [ɑʒimolɑ]             [nzwetu]               [t͡ʃinɑ]

Write an objective summary of the Lincoln (Abraham Lincoln)-Douglas (Frederick Douglas) Debates. This should at least have 3-6 sentences.

Name __________________________________       

Date ___________________________________

Cornerstone Readings: “Somebody Has to Pay: Audley Moore, Mother of the Reparations Movement”

Reading 1: “Somebody Has to Pay: Audley Moore, Mother of the Reparations Movement” Written by Ashley Farmer, Published by The African American Intellectual History Society (June 17, 2015)

This text provides background on “Queen Mother” Audley Moore, a prominent activist who fought for reparations for American citizens of African descent.  

With Ta-Nehisi Coates[’] celebrated article, “The Case for Reparations,” and the recent awarding of reparations to victims of police torture in Chicago, repayment for racism and racial violence is part of public debate again. While many know of the recent, mainstream efforts to secure reparations for African Americans, few know of the African American woman activist that jumpstarted reparations activism in the 20thcentury.“Queen Mother” Audley Moore’s activist life spanned eight decades; much of which she dedicated to fighting for reparations. Her reparations advocacy traversed multiple organizations, geographical locations, and ideological affiliations.

Moore was born in New Iberia, Louisiana in the 1890s and raised amid the rise of the Jim Crow South. Looking to escape the harsh life of the south, she migrated to Harlem in the 1920s. After joining several radical organizations including the Communist Party and Marcus Garvey’s Universal Negro Improvement Association (UNIA), Moore returned to her home state in 1955. 

In 1957, she founded the Universal Association of Ethiopian Women (UAEW) and started to research reparations. UAEW members, at Moore’s behest, began a campaign to encourage African Americans to file a formal reparations claim with the U.S. government before the end of 1963 (100 years after the signing of the Emancipation Proclamation). To advance this agenda, she moved to Philadelphia and led the National Emancipation Proclamation Observance Committee (NEPOC) in 1962. Tasked with planning the celebration of the centennial anniversary of the Emancipation Proclamation, Moore and her followers converted the commemoration into an opportunity to develop a national reparations campaign. The NEPOC developed a reparations claim for approximately 36 million dollars in back pay to be used for African American emigration to Africa, cultural and political development in black communities, and past wages for those who wanted to remain in America.[1]

Moore gained the most traction for her reparations activism among activists in Southern California. With a group of L.A.-based black organizers, she founded the Reparations Committee for the Descendants of American Slaves. As the leader of the Reparations Committee, Moore published an extensive analysis of reparations: Why Reparations? Reparations Is the Battle Cry for the Economic and Social Freedom of More than 25 Million Descendants of American Slaves.

In Why Reparations, Moore defined reparations, established a historical basis for restitution and laid out her program for payment distribution. For the Louisiana-born activist, reparations was a means for “amends or compensation” for the “loss or damage” of African American lives and labor. Moore claimed that her call for “money damages, for the loss of their ancestors’ fair share of property which accrued by reason of their skills and labors” was not “without apt precedents in the field of law and nations.” She cited payments from West Germany and Finland, as well as the United States’ compensation of Japanese Americans, as evidence that reparations were a standard practice.

Moore also offered her plan for how the funds should be distributed. “The Reparations payment,” Moore argued, would be used to end the poverty of “Americans citizens of African descent.” She proposed job quotas or “immediate hiring on a quota basis in every level of our industry, implemented with an intensified on the job training program.” Key to Moore’s vision was that repayment should come in the form of wholesale economic advancement for African Americans rather than the US government doling out “a few thousand dollars for one group” to control. She argued that calls for freedom and justice were “empty slogans” without forcing America to reckon with its racist past through reparations.[2]

During the 1960s and 1970s, Audley Moore convinced a new generation of activists of the need for reparations. She mentored many black power radicals including members of the Black Panther Party, the Republic of New Africa, and the Revolutionary Action Movement. Each of these groups incorporated reparations into their political program and many credit Moore with helping them develop their reparations framework.

Queen Mother Moore argued that reparations are “the most basic question before us” and that it was the “crux” of the problem of race relations in America. While she was serious about repayment for the atrocities of slavery and Jim Crow, Moore’s larger point was about the benefits of reparations activism and reparations as social movement. Justifying reparations requires a substantive engagement with the contours, layers, and intersections of white supremacy and patriarchy. Theorizing how reparations might be distributed reveals new points of convergence and community among people of African descent. In a world where we can’t go a week without another black person becoming a hashtag and the trauma of racial violence is continually on loop, Moore’s claim that reparative justice must accompany prosecutorial measures seems to be the “crux” of the solution.

What are reparations used for currently?

What is “Queen Mother” Audley Moore known for?

What were some of “Queen Mother” Audley Moore’s early influences?

Discuss the organizations in which “Queen Mother” Audley Moore had a leadership role. What were some of their accomplishments? Cite evidence in your response.

What are the reparations referenced in her article, “Why Reparations?” How did she support her request? Cite evidence in your response.

How did “Queen Mother” Audley Moore want to use and distribute the reparations? Cite evidence in your response.

Which groups did “Queen Mother” Audley Moore influence? Underline your response.

Discuss some of the underlying ideas behind the reparations movement.

Source:

READ ALLLLLLLL THE DIRECTIONS BEFORE STARTING THIS CHECKPOINT!! YOU WILL BE LOST IF YOU DON’T!

READ!! Directions: In your Final Product, you deliver a pitch explaining why an artifact from our times is poetry and should be included in the Literary Canon. In this Packet, you walk through the steps to brainstorm, plan, and outline your presentation. Follow the directions and complete each step, and by the end, you will have a basic outline and be ready to practice giving your presentation!

READ The Prompt!!

Final Product Prompt: Deliver a presentation in which you...

• Introduce a text or artifact from pop culture and explain why it qualifies as poetry.
• Explain how its word choices create an overall impact on its meaning or tone.
• Share your opinion about the current status of the literary canon.
• Persuade the audience that the text you have chosen should be a part of the literary canon.
• Engage the audience with public speaking strategies and visual aids.

Break It Down

Part 1: Which Poem?: What artifact will you use for this pitch? Name it below.

Poem’s title and author

Poem Title:

Author:

Paste poem here:

Part 2: Brainstorm: Make a list of all the reasons why you think this artifact qualifies as a poem. ***Use your information from your notes and understanding of the Canon to support your answer.

Reasons Why It’s Poetry

1.

2.

3.

READ!!! Brainstorm: Make a list of all the reasons why you think this artifact should go down in history as part of the Literary Canon. ***Use your information from your notes and understanding of the Canon to support your answer.

Reasons Why It Should Be in the Canon

Word Choice Effects or Meanings: What are some specific meanings/feelings or effects created by the word choices in the poem?

Why it’s Poetry: How do these Word Choice examples demonstrate what it means to be a poem?

Draft an Argumentative Claim / Thesis Statement

Summarize the ideas you highlighted above into one main thesis statement.

Argumentative Claim:

READ!! Gather Evidence

Directions: Now that you have a plan for the main arguments in your Poetry Pitch, gather evidence.

1. Find at least 2 quotations and/or evidence from some or all of the following sources:
2. The text of your poem
3. The Poetry of Pop Reading
4. The Literary Canon Text Packet
5. Briefly note how the quotations support your claims so you can easily insert them into your Poetry Pitch Outline in the next step.

Quotation

How It Supports My Claim

Put it All Together

Directions: Complete the Cannon background information

Example:

Title of Cannon: (Renaissance)

Years that include the Cannon: (1300-1600)

Describe the Cannon: (Time period when art, literature, and ideas became very important and a lot of art was produced)

Title of Cannon:

Years that include the Cannon:

Describe the Cannon:

#

Topic (reasons why this poem should be included in the Literary Canon)

Contents of Points

1

Opinion:

Reason:

Example:

2

Opinion:

Reason:

Example: