User:Sakare2000/sandbox

Evaluation of Native Americans in Film
Evaluating Content

Is everything in the article relevant to the article topic? Is there anything that distracted you?


 * Yes, everything is relevant. There is nothing in the article that I immediately noticed was incorrect or unrelated to the topic.

Is any information out of date? Is anything missing that could be added? Identify content gaps.

What else could be improved?


 * The information is not out of date but could certainly be expanded on. For example, the article doesn't discuss any films released beyond 2005. I think this page needs to be updated with more recent information. I also think the information is poorly organized and needs to be rewritten.

Review the lead section. Does it follow Wikipedia’s guidelines to provide basic information and summarizes the entire article?


 * The lead section does summarize the entire article but in my opinion, does a poor job of it. I don't think it focuses on the most relevant points of the article.

Evaluating Tone

Is the article neutral? Are there any claims that appear heavily biased toward a particular position?

Are there viewpoints that are overrepresented, or underrepresented?


 * The article doesn't appear to be heavily biased. I think it does a fair job of presenting a sensitive and complicated issue.

Evaluating Sources

Check a few citations. Do the links work? Does the source support the claims in the article?


 * Yes the links work and yes the sources are relevant and support the article's claims.

Is each fact referenced with an appropriate, reliable reference? Where does the information come from? Are these neutral sources? If biased, is that bias noted? For example, does the writer use signal phrases to clearly identify the source of the information?


 * No, much of the information in the article is un-cited. Further, the banner at the top of the article not that it relies too much primary sources and may include original research.

Checking the Talk Page

Now take a look at how others are talking about this article on the talk page. What kinds of conversations, if any, are going on behind the scenes about how to represent this topic?


 * There is only one comment on the talk page. It says that the article lacks neutrality.

How is the article rated? Is it a part of any WikiProjects?


 * It is rated start-class. It is a part of WikiProject Indigenous Peoples of North America, WikiProject Film, and WikiProject United States.

How does the way Wikipedia discusses this topic differ from the way we've talked about it in class?


 * We haven't really discussed this topic in class.

Evaluation of The Handmaid's Tale
What sections/topics does the article cover that are mentioned in the handout? What is missing and could be added to the article?


 * The article has a lead section which provides basic information about the book and summarizes the article.
 * The article provides a background for the books origins, particularly a historical context, which discusses the historical events that Atwood drew inspiration from.
 * The article provides a very in-depth plot summary.
 * The article has an entire section discussing the genre of the book. It is classified as science fiction.
 * There is a section on reception.
 * There is an info-box.
 * While the page does include some brief academic academic analyses of the THT, I think that section could definitely have been more fleshed out. The book is first and foremost a feminist book so I think that the feminist social critique of THT could be given a more in-depth discussion.

The Handmaid's Tale Edit
There is a small section in THT's wiki page that addressed Ben Merrimen's argument, although it is from the POV of another author. The argument is addressed with a few sentences when the issue of race in THT could probably take up an entire section.

I would add this to the race section:

Race[edit]

Ana Cottle [ADDRESS HERE WHO SHE IS] characterized The Handmaid's Tale as "white feminism", noting that Atwood does away with black people in a few lines by relocating the "Children of Ham" while borrowing heavily from the African-American experience and applying it to white women. [Ben Merriman, a sociologist and professor at the University of Kansas School of Public Affairs and Administration, further addresses this issue. He argues that Atwood fails to "acknowledge that sexism in America has, generally, been modulated by forms of race and class oppression, nor does she acknowledge the parallels between her own story and the experience of Black slavery."] He points out the similarities between the experiences of the Handmaids and that of African-American slaves and criticizes Atwood for her total failure to address this in her book.

Evaluating Fun Home (In Comparison to The Handmaid's Tale)
The Fun Home article is really well done. It's clear and well organized, as opposed to The Handmaid's Tale page. The lead does an excellent and thorough job summarizing the entire article. It addresses every point that is discussed throughout the article (summary, themes, critical reception, awards, etc). Fun Home's page is also much more detailed than that of The Handmaid's Tale. It addresses themes and allusions in Fun Home and is generally just organized in a better, more cohesive way. THT's page also doesn't go into detail about the awards that THT has won - it just briefly addresses them. THT's genre classification is also just a bunch of block quotes and doesn't add much to the article.

We could add more information about critical/academic analysis of Fun Home on its Wiki page, including the

Handmaid's Tale Three Part Evaluation
 General observation: 

The Politics section of The Handmaid's Tale's summary is largely un-cited, with only a few distracting in-text citations. There are also several very clear points of analysis in this section, which should no

 Concrete point evaluation: 

In Gilead, the bodies of fertile women are politicized and controlled. The North American population is falling as more men and women become infertile (though in Gilead, legally, it is only women who can be the cause of infertility). Gilead's treatment of women is based upon a literal, fundamentalist interpretation of the Bible, meaning that women are the property of and subordinate to their husband, father, or head of household. They are not allowed to do anything that would grant them any power independent of this system. They are not allowed to vote, hold a job, read, possess money, or own anything, among many other restrictions.

A particular quote from The Handmaid's Tale sums this up: "The Republic of Gilead, said Aunt Lydia, knows no bounds. Gilead is within you" (HT 5.2). This describes that there is no way around the societal bounds of women in this new state of government. Handmaids, being not allowed to wed, are given two-year assignments with a commander, and lose their own name: they are called "Of [their Commander's first name]", such as the novel's protagonist, known only as Offred. When a handmaid is reassigned, her name changes with her. Their original identities before the revolution are suppressed, although while being re-educated as handmaids, they surreptitiously share their names with each other.

In this book, the government appears to be strong though "no one in Gilead seems to be a true believer in its revolution" (Beauchamp). The Commanders, portrayed via Commander Fred, do not agree with their own doctrines. The commander takes Offred at one point to a brothel in order to have sex with her in an informal setting apart from the Ceremony. The wives, portrayed via Serena Joy, former television evangelist, disobey the rules set forth by their commander husbands. Serena smokes black market cigarettes, expresses the forbidden idea that men may be infertile, and schemes to get Offred impregnated by her chauffeur.

The bolded phrases and words represent points of analysis made by the author and/or statements that need to be cited. Without citations for these statements, they appear to be the opinions of the author, which do not belong in a wiki article.

 Actionable item: 

Create linked citations for the claims that the author makes and remove the the in-text citations. If no source can be identified, add "citation needed" to this statement.

Draft One of Contributions to Wikipedia on The House on Mango Street
Anything in bold is content that I added, Anything that has been crossed out is content from the original author that I intend to remove. Anything in normal font is the original content that I decided to leave in.

Lead
The House on Mango Street is a 1983 coming-of-age/ bildungsroman novel by Mexican-American author Sandra Cisneros. Presented in a series of vignettes, The House on Mango Street tells the story of Esperanza Cordero, a 12-year-old Chicana girl growing up '''the Hispanic quarter of Chicago. The novel follows Esperanza over a one-year period of her life, as she enters adolescence and begins to mature both physically and emotionally. Esperanza finds her life on Mango Street to be suffocating, and frequently expresses her desire to escape, only to one day return and rescue her loved ones as well. on her journey to adolescence, The House on Mango Street explores themes of racial prejudice, sexuality, sexual assault, misogyny, and domestic violence.'''

The House on Mango Street is considered to be a modern classic of Chicano literature and has become a staple of young adult academia. It is a New York Times Bestseller, having sold over 2 million copies and was adapted into a stage play by Tanya Saracho in 2009. However, because the novel deals with controversial subject matter, it has been banned from many school districts.

Synopsis
The House on Mango Street covers a year in the life of Esperanza Cordero, a young Chicana girl living in an impoverished Chicago neighborhood with her parents and two siblings. The book opens with Esperanza, the narrator, explaining how her family first arrived on Mango Street. Before the family settled in their new home, they moved frequently. While the house on Mango Street was a significant improvement from her family's previous dwellings, Esperanza expresses her disdain for her new home. The reader develops a sense of Esperanza's observant and descriptive nature as she begins the novel with descriptions of minute behaviors and observations about her family members and neighbors. . Though Esperanza's age is never revealed to the reader, it is implied that she is about thirteen. She begins to write as a way of expressing herself and as a way to escape the suffocating effect of the neighborhood. The novel includes the stories of many of Esperanza's neighbors, providing a picture of the neighborhood and offering examples of the many influences surrounding her.

Esperanza then meets a person named Meme Ortiz, and they become fast friends, each participating in The Tarzan Tree Jumping Contest, an annual event in which Meme Ortiz breaks his arms. observations of her family and neighbors.

As the vignettes progress, the novel depicts Esperanza's budding maturity and developing world outlook. As Esperanza eventually enters puberty, she develops sexually, physically, and emotionally, and begins to notice and enjoy male attention. She quickly befriends Sally, an attractive girl who wears heavy makeup and dresses provocatively. Sally, a beautiful girl according to her father, can get into trouble with being as beautiful as she is. Sally's father, a deeply religious man, prevents her from leaving their home and physically abuses her. Sally's and Esperanza's friendship is compromised when Sally ditches Esperanza for a boy at a carnival and Esperanza is sexually assaulted by a man. Earlier at her first job, an elderly man tricked her into kissing him on the lips. Esperanza's traumatic experiences and observations of the women in her neighborhood cement her desire to escape Mango Street. She later realizes that she will never fully be able to leave Mango Street behind. She vows that after she leaves, she will return to help the people she has left behind. Esperanza exclaims that Mango Street does not hold her in both arms; instead, which sets her free.

Structure
The House on Mango Street is structured in a series of vignettes. The protagonist, Esperanza, narrates these vignettes in first-person present tense, focusing on her day-to-day activities but sometimes narrating sections that are a series of observations. The vignettes can be as short as two or three paragraphs long and sometimes contain internal rhymes.

In "The Family of Little Feet" for example, Esperanza says: "Their arms were little, and their hands were little, and their height was not tall, and their feet very small." Each vignette can stand alone as an independent story. These vignettes follow a complete or chronological narrative, although they often mention characters introduced in earlier sections. The set of vignettes charts her life as Esperanza enters adolescence and develops both physically and emotionally. Not wanting create an autobiographical piece, Cisneros constructs the book in a combination of genres, pulling mantles of poetry, autobiography, and fiction.

The conflicts and problems in these short stories are always fully resolved, just as the futures of people in the neighborhood are often uncertain. The overall tone of the novel is earnest and isn't very intimate, with very little distance between the reader and the narrator. The tone varies from pessimistic to hopeful, as Esperanza herself sometimes expresses her jaded views on life:

"I knew then I had to have a house. A real house. One I could point to. But this isn't it. The house on Mango Street isn't it. For the time being, Mama says. Temporary, says Papa. But I know how those things go."

Cisneros asserts that the goal of The House on Mango Street was to make the novel accessible to everyone. She wrote the book initially as a catharsis, not realizing that it would eventually represent a voice for Latinos and become enveloped in the works of great Latino literature. She wanted it to be lyrical enough to be appreciated by poetry enthusiasts, but also accessible enough that laymen could read and enjoy the novel. She desired the book to resonate with children, adults, and ages in between, and in totality chose to keep the novel short so that even the busiest of parents and adults who worked long shifts like her father always had, could still find time to read it. MOVING TO BACKGROUND SECTION

Reception
'The House on Mango Street,'' Cisneros' first major publication, was released to critical acclaim, particularly earning praise from the Latino/Latina community. Oscar Hijuelos, the first Hispanic writer to win a Pulitzer Prize for Fiction, said that the novel "conveyed the Southwestern Latino experience with verve, charm, and passion." The book sold well over 2 million copies and won Cisneros the American Book Award from the Before Columbus Foundation (1985). The House on Mango Street is now required reading in many school curriculums across the United States.'''

Criticism and reputation as a banned book
Despite its generally positive reception within the Latino community, The House on Mango Street has received criticism stemming from its sensitive subject matter, particularly its mentions of sexual assault and domestic violence. For example, during the “Red Clowns” chapter of the novel, Esperanza is assaulted by a male who repeatedly defines her as a “Spanish girl” whom he loves. Critics argued that the suspected audience of the book was perceived to be too young for this content. Parents and education boards have objected to the implementation of The House on Mango Street into school curriculums, as they believe that the content to be too mature for a young audience. In response to this categorization as a children's novel, Cisneros replies that even though it's marketed as a young people's book, the range of readers stems all the way to college level students. Cisneros’ novel has one general theme: to promote individuality and drive within individuals which will conversely promote a distaste for conformity and cultural labeling. Much of the critical reception surrounding the book today recants this theme due to its suspected negative effects on individuals challenging community and people serving powers such as the government and educational institutions.

Publication history [edit]
'''Since its initial release in 1983, The House on Mango Street has sold over well over 2 million copies and has been translated into various languages. On its 25th anniversary in 1998, it was re-issued in a special Anniversary Edition.'''

1983, United States, Arte Público Press ISBN 978-0934770200, Pub date 1983, paperback

1984, United States, Arte Público Press ISBN 0-934770-20-4, Pub date 1 January 1984, paperback

1991, United States, Vintage Contemporaries ISBN 0-679-73477-5, Pub date 3 April 1991, paperback

Bibliography of Sources for Editing The House on Mango Street Article
Alfaro, M. (2006). The oppression and deliverance of women in sandra cisneros' “The house on mango street” (Order No. 1438852). Available from ProQuest Dissertations & Theses Global. (304920544). Retrieved from https://search.proquest.com/docview/304920544?accountid=11091

Betz, R. M. (2012). Chicana ‘Belonging’ in Sandra Cisneros’ the house on mango street. Rocky

Mountain Review,, 18-33. Retrieved from https://link.gale.com/apps/doc/H1100117008/LitRC?u=wash43584&sid=LitRC&xid=ca3fa816

Burcar, L. (2018). Shortcomings and limitations of identity politics and intersectionality in

sandra cisneros’s the house on mango street. Acta Neophilologica, 51(1-2), 25-38. doi: http://dx.doi.org/10.4312/an.51.1-2.25-38

Busch, J. D. (1993). Self-baptizing the wicked esperanza: Chicana feminism and cultural

contact in the house on mango street. Mester, 22-23, 123-134. Retrieved from https://link.gale.com/apps/doc/H1100059815/LitRC?u=wash43584&sid=LitRC&xid=506c66fb

Cepeda, C. C. (2006). The construction of chicana identity in “The house on mango street” by

sandra cisneros (M.A.). Available from ProQuest Dissertations & Theses Global. (305274391). Retrieved from https://search.proquest.com/docview/305274391?accountid=11091

Elías, E. F. (1994). The house on mango street: Overview. In J. Kamp (Ed.), Reference guide to american literature (3rd ed. ed., ). Detroit, MI: St. James Press. Retrieved from https://link.gale.com/apps/doc/H1420001666/LitRC?u=wash43584&sid=LitRC&xid=5b9d5d2e

Esquibel, C. R. (1998). Memories of girlhood: Chicana lesbian fictions. Signs: Journal of Women in Culture & Society, 23(3), 645. doi:10.1086/495283

KALAY, F. (2013). The women figures and the notion of 'home' in sandra cisneros' the house on mango street. Journal of Graduate School of Social Sciences, 17(1), 117-126. Retrieved from http://proxy.library.georgetown.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,uid&db=aph&AN=91658439&site=ehost-live&scope=site

Matava Vichiensing. (2018). Investigating ‘Othering’ in Sandra Cisneros’s The House on

Mango Street. International Journal of Applied Linguistics & English Literature, 7(2), 52-57. doi: http://dx.doi.org/10.7575/aiac.ijalel.v.7n.2p.52

Michelle Scalise Sugiyama. (1999). Of woman bondage: The eroticism of feet in the house

on mango street. The Midwest Quarterly, 41(1), 9-20. Retrieved from https://search.proquest.com/docview/195711379?accountid=11091

Sloboda, N. (1997a). A home in the heart: Sandra cisneros's the house on mango street. Aztlan, 22, 89-106. Retrieved from https://link.gale.com/apps/doc/H1420076385/LitRC?u=wash43584&sid=LitRC&xid=eb7646b5

de Valdés, M. E. (1992). In search of identity in cisneros' the house on mango street. The

Canadian Review of American Studies, 23, 55-72. Retrieved from https://link.gale.com/apps/doc/H1100004427/LitRC?u=wash43584&sid=LitRC&xid=c5cd124f

Wissman, K. (2007). “Writing will keep you free”: Allusions to and recreations of the fairy tale

heroine in the house on mango street. Children's Literature in Education, 38(1), 17-34. doi:10.1007/s10583-006-9018-0

Lead
The House on Mango Street is a 1983 bildungsroman novel by Mexican-American author Sandra Cisneros. Presented in a series of vignettes, The House on Mango Street tells the story of Esperanza Cordero, a 12-year-old Chicana girl growing up the Hispanic quarter of Chicago. The novel follows Esperanza over a one-year period of her life, as she enters adolescence and begins to the hard realities of life - the fetters of class and gender, the spectre of racial enmity, and the mysteries of sexuality. Capturing her thoughts and emotions in poems and stories, Esperanza is able to rise above hopelessness and create for herself the life that she envisions. Mexican American culture and themes of social class and gender are interwoven through the novel's vignettes.

The House on Mango Street is considered to be a modern classic of Chicano literature and has become a staple of literary academia. Having been the subject of numerous academic publications in areas such as Chicana Studies and Women's and Gender Studies. Since the book was first published in 1984, it has sold more than six million copies, been translated into over twenty languages, and is required reading in elementary, high school, and universities across the nation. It is a New York Times Bestseller and is the recipient of several major literary awards. It was adapted into a stage play by Tanya Saracho in 2009.

Background
Cisneros has frequently stated that she drew inspiration from her personal experiences when writing The House on Mango Street. Like her protagonist, Esperanza, Cisneros was born and raised in a Hispanic neighborhood in Chicago. She was the only daughter in a family of seven children, a condition that Cisneros describe as leaving her marginalized as a consequence of her gender. During Cisneros’s childhood, her father’s restless homesickness caused the family to move frequently between Chicago and her paternal grandparent’s house in Mexico city. Cisneros ascribes to the loneliness of those formative years her impulse to create stories by re-imagining the dull routine of her life.

She graduated with a BA degree from Loyola University in 1976 and completed an MFA in Creative Writiing at the Iowa Writers Workship in 1978. It was at Iowa that Cisneros discovered first, a sense of her own ethnic “otherness.” In an interview, Cisneros stated that during her graduate studies, when she began writing The House on Mango Street, she found the academic atmosphere incredibly discouraging. She remembered finding her classmates' backgrounds very different than her own and realized she had little in common with them. She explained,"I was so angry, so intimidated by my classmates that I wanted to quit. But ... I found a way to write… in reaction to being there I started to have some Mango Street almost as a way of claiming this is who I am. It became my flag."

Synopsis
The House on Mango Street covers a year in the life of Esperanza Cordero, a young Chicana girl living in an impoverished Chicago neighborhood with her parents and three siblings. The book opens with Esperanza, the narrator, explaining how her family first arrived on Mango Street. Before the family settled in their new home, small and run-down with peeling red walls, they moved frequently. While the house on Mango Street was a significant improvement from her family's previous dwellings, Esperanza expresses disdain towards her new home. She finds her life on Mango Street suffocating, and frequently expresses her desire to escape. She begins to write poetry to express her feelings. The reader develops a sense of Esperanza's observant and descriptive nature as she begins the novel with descriptions of minute behaviors and observations about her family members and neighbors. She begins to write as a way of expressing herself and as a way to escape the suffocating effect of her neighborhood. The novel includes the stories of many of Esperanza's neighbors, providing a picture of the neighborhood and offering examples of the many influences surrounding her.

As the vignettes progress, the novel depicts Esperanza's budding maturity and developing world outlook. As Esperanza eventually enters puberty, she develops sexually, physically, and emotionally, and begins to notice and enjoy male attention. She quickly befriends Sally, an attractive girl who wears heavy makeup and dresses provocatively. Sally's father, a deeply religious and physically abusive man, prevents her from leaving their home. Sally's and Esperanza's friendship is compromised when Sally ditches Esperanza for a boy at a carnival and Esperanza is sexually assaulted by a man. Esperanza recounts other instances of assault she experience, when a forcibly kissed her at her first job. Earlier at her first job, an elderly man tricked her into kissing him on the lips. Esperanza's traumatic experiences and observations of the women in her neighborhood only further cement her desire to escape Mango Street. She later realizes that she will never fully be able to leave Mango Street behind. She vows that after she leaves, she will return to help the people she has left behind.

Structure
The House on Mango Street is structured in a series of forty-four vignettes, each of varying lengths. The vignettes can be as short as two or three paragraphs long and sometimes contain internal rhymes. The protagonist, Esperanza, narrates these vignettes in first-person present tense. The vignettes can be as short as two or three paragraphs long and sometimes contain internal rhymes.

Each vignette can stand alone as an independent story. These vignettes follow a complete or chronological narrative, although they often mention characters introduced in earlier sections. The set of vignettes charts her life as Esperanza enters adolescence and develops both physically and emotionally. Not wanting create an autobiographical piece, Cisneros constructs the book in a combination of genres, pulling mantles of poetry, autobiography, and fiction.

Cisneros wrote The House on Mango Street in an accessible voice for her intended audience—working- class readers. Having written The House on Mango Street as a semi-autobiographical novel, Cisneros wanted the text to be easily read by people like those she remembered from her youth—particularly people who spent all day working with little time to devote to reading. In an interview, she explained,"I wanted something that was accessible to ... someone who comes home with their feet hurting like my father."

Publication and reception
The House on Mango Street, Cisneros' first major publication, was released to critical acclaim, particularly earning praise from the Hispanic community. Oscar Hijuelos, the first Hispanic writer to win a Pulitzer Prize for Fiction, said that the novel "conveyed the Southwestern Latino experience with verve, charm, and passion." It was a New York Times best seller and won Cisneros the American Book Award from the Before Columbus Foundation (1985). The House on Mango Street is now required reading in many school curriculums across the United States.

Challenges and attempted banning
Despite its generally positive reception within the Latino community, The House on Mango Street has received criticism stemming from its sensitive subject matter, particularly for its mentions of sexual assault and domestic violence.

The House on Mango Street was on the list of Frequently Challenged of Banned YA Fiction for 2014-2015.

The St. Helens school board in St. Helens, Oregon decided to ban "The House on Mango Street" from the middle-school curriculum. The district's "reconsideration committee" claimed that the book contained "content too mature for this age group" and expressed "concerns for the social issues presented."

The House was one of the 80-plus books that were part of the Tucson Unified School District’s K-12 Mexican-American studies curriculum before the program was dismantled under Arizona House Bill 2281. When the program was suspended, they banned all books that were associated with it, like The House on Mango Street.

Publication history
Since its initial release in 1983, The House on Mango Street has sold over well over 6 million copies and has been translated into over 20 languages. On its 25th anniversary in 1998, it was re-issued in a special Anniversary Edition.

1983, United States, Arte Público Press ISBN 978-0934770200, Pub date 1983, paperback

1984, United States, Arte Público Press ISBN 0-934770-20-4, Pub date 1 January 1984, paperback

1991, United States, Vintage Contemporaries ISBN 0-679-73477-5, Pub date 3 April 1991, paperback