debating 101

by ahmed farah
• Classic debate
• Comedy debate
• Impromptu debate
• Lincoln-Douglas debate
• Parliamentary debate
• Policy debate
• Public debate
• Public forum debate
• Socratic method
• Spontaneous argument

1) Debates occurs in TV’s, courtrooms, every else you can imagine in your house it happens daily. You might not even know you’re arguing debate requires research and writing skills.
2) Supporters of election debates say they allow voters to gain insight into the policies, positions and personalities of the party leaders. They are a valuable source of information for voters, allowing parties to present and defend their key policies during prime-time television.

Others dismiss debates as politically meaningless. They say debates offer little enlightenment for the viewer, with each leader simply stating rehearsed strengths and repeating policy slogans, with an emphasis on performance rather than policy. They also question whether viewers are likely to make serious political decisions based on a debate.
3) Yes only if your debate has only fact good information and a backup summary of your debate. For an argument to be effective, it must be structured. Debate relies on a structure that places two teams on opposite sides of a resolution, or policy statement,
4) Case insensitive operations are sometimes said to fold case, from the idea of folding the character code table so that upper and lower case letters coincide. The alternative smash case is more likely to be used by someone who considers this behavior a disfeature or in cases where one
5) even more than in real life, getting the Last Word in a debate is crucial, as it is the only proof of your argumentative success over competing editors. The following is a useful collection of suggestions on why and how to obtain your right to have the Last Word, however tenaciously your opponent may be trying to rob you of your privilege. Getting the last word means that you win the debate. It also shows your moral superiority, and willingness to stand your ground. This should convince your opponent that you are correct.

post b part 2

‘’we’ve never gotten along,’’ ‘’ Paul says of the Indian and the Eskimos.
The author is describing the tension between Indian and the Eskimos. The differences is
Their difference lies in the land they inhabit. Other than that, both are from the mongoloid races of Asia where they expanded their exploration into this continent when the Bering Straight was still above water, ages ago.
A prevailing view in North American anthropology is that Eskimos are descendants of the most recent migrants from Siberia and are more closely related to Asiatic Mongoloids than to Indians. The assumption of Eskimo-Indian biological distinctiveness is challenged by genetic-marker and cranial data, analyzed separately and then compared, for populations from the Arctic, Sub arctic, Northwest Coast, and Great Plains.
Put another star on the flag, make Iraq the fifty first state and start sucking oil out and ‘’under their sand like they’ve done it with us from under our snow?’‘The way he sees it, big corporation are making money from their pipelines and taking their oil and making money out of it. The Indians don’t get anything in return, they use their land and mess it up kill animal’s that live in the nearby area and all habitats that live in Alaska. The also criticized bush decision to go to war in Iraq. they also get money every year from the ANCSA a deal which that signing over the rights for oil companies to drill and build pipelines on what had been native land in return they get one billion dollars and forty million acres of wilderness.

new book post a

Diphtheria (37): febrile infectious disease caused by a specific bacillus and characterized. By the formation of false membrane in the air passages.
Unconscious (43): not aware of something.
“Used to tell them they must have done something seriously wrong to be stationed here “
This is historical irony when history is seen through modern eyes.
‘’ the black guys ‘’ the author meant the GIs taught them how to play basketball.” the mailbox money” this is historical irony the are talking about the money the Indians receive every month. For the land and the oil to be drilled here in Alaska. Also this year “Natasha would have been a starter but got pregnant and drooped out of school” this is irony of a situation is a discrepancy between the expected results and actual results when enlivened by 'perverse appropriateness'.
They worked at an air force base in fort Yukon Alaska all they did was play basketball and work. (39)
This book is very interesting and I like it very much. Deep in Alaska's bush country. The six hundred men, women and children who live there--almost all of them Athabascan Gwich'in Natives--have little to cheer for. Their traditional Indian ways of life are rapidly vanishing in the face of a modern culture that is closing in on all sides, threatening to destroy their community and their identity. This is many ways the American Indian are vanishing from their homeland and losing their culture and their way of life. But most of the glitch natives still live like their ancestors and follow their way of life.
One immerging theme is the team will round up their players and start the scrimmage and the will get new jerseys and shoes. Also their season will star and some kid’s will go on the journey but most will stay because of their grades and will not suit up.

new book take 1

Post a.
Glutinous: several muscles of the buttocks (20)
Diaphanous: transparency or lucent (23)
‘’ He’s quick as any player bridges has ever coached’ I thing he is saying that wade fields just doesn’t care for what his coach think but his coach’s basketball program. Changed how the character viewed school so this is cosmic irony is when a higher being or force interferes in a character’s life, creating ironic settings. Also when the don’t do their homework their coach interferes also this is irony. When the book says “small hardwood floor no room for a three point line” this is imagery it sets a picture in my head.
Post b.“If it wasn’t for basketball, they wouldn’t even be going to school anymore (26) “If not for basketball this kid’s wouldn’t care they all would drop out, I think that is sad and also they have no regard’s for people older then them.’’ He found out today he’ll be taking the SAT next month’’ .for some of these kid’s want to go to college but the rest really don’t care where they go, I saw that very special and changed my point of view of this characters. Now I now that not all of them care about college, matt really want to go to college in Alaska. These kids really change their ethics when basketball season started for some the dint care but the rest do. They might want to go to college. Their aspects change tank’s to their coach Dave he rely cares about this kid's and their future.

about my new book

The name of this book is called eagle blue and the author is Michael D'Orso.The year and the were is is Bloomsbury USA March 7, 2006.
This book is nonfiction.it has about 256 pages it is a hardcover book.This book is hard because it is reviwed by the newyork times and this book is meant for adult readers.i chosse this book because i like basketball and i have a hard time finding book that i like. also it was introduced to me by my favorite teacher mr' hatten.also i think i will be enjoying reading this book.

last summary on the best book i read since the 5 grade

In A Choice of Weapons, a traditional autobiography in twenty-four chapters, Gordon Parks covers fifteen years in his eventful life. The narrative begins when Parks, the youngest of thirteen children, is sixteen years old. His mother has just died, and the family honors her last wish—that Parks leave Kansas and move north to St. Paul, Minnesota, to live with his sister. In the first few chapters, Parks describes growing up in Kansas. Yet in the shorter term, Parks clashed with his brother-in-law, and one night just a few weeks into his stay, the man threw him out of the house and into subzero weather. Parks had two dollars in his pocket and a cardboard suitcase. For another week, school would be closed for the Christmas break. He spent these days homeless, bouncing between Jim Williams's pool hall during the day and the trolley cars at night. One morning, hungry and broke, Parks drew a knife on one of the conductors, and then, in shame, offered to sell it to him in exchange for breakfast. A few days later as school restarted, Parks fought a skinny dog for a pigeon and won; he promptly defeathered the bird, roasted it over a paper fire, and ate it. In the months that followed, Parks found a somewhat remunerative job playing piano in a St. Paul brothel until a fatal stabbing closed the house.
Parks dropped out of high school, and in the ensuing years, he cleared tables as a busboy at the Minneapolis Club, cleaned a flophouse in Chicago (where he nearly shot the manager after being stiffed on a paycheck), and toured one winter with a semiprofessional basketball team. While Parks was busing tables in a Chicago hotel, a white bandleader heard him playing the piano and invited him on tour, eventually depositing him in New York City and stranding him there. At the advice of the band's drummer, Parks took the A Train all the way to 145th Street. "That was the highest number," he writes. "Best to think high at a time like that." Unfortunately, after a few weeks of unemployment, Parks was forced to sink to a lower high; he started making deliveries for a dope dealer.
A year-long stint in the Civilian Conservation Corps followed, and while enlisted, Parks married his first wife, Sally Alvin. The couple moved back to Minnesota and in the coming years they would have a daughter and two sons. Parks's next job as a porter on the North Coast Limited was to prove his last days in the service profession. Reading the magazines that passengers had left behind, Parks discovered the seminal work of the great Depression-era documentary photographers--Walker Evans, Jack Delano, John Vachon, Dorothea Lange, Ben Shahn, and Carl Mydans--and this inspired him to invest in a used camera that he would deem "his weapon against poverty and racism." After being fired from the train--he threatened the dining-car steward with a bread knife after a racial incident--Parks put his new weapon to the test.
What arrived next, finally, was an uninterrupted string of successes: a show in Chicago; an unexpected opportunity to shoot fashion for an upscale Minneapolis couture; and ultimately, a chance to work for Roy Stryker at the Farm Security Administration in Washington D.C. as the agency's first black photographer. Parks, inundated by a mean logic of hardship and injustice, had chosen not to believe in that logic; compare the phenomenon to that of a man standing neck-deep in rising water while insisting that he's mostly dry.
And yet at this fortuitous juncture in Parks's sojourn, an unlikely one for him to have ever reached, the story becomes even more incredible, and it can be told through his pictures.
"American Gothic" may be the most famous piece in the Parks oeuvre and it is one of the first. Shot in 1942 within the offices of the FSA, the photo features a black charwoman, Ella Watson, standing before an American flag with a mop in the background and a broom in the fore--like Grant Wood's stoic farmers planted in front of their barn. She wears round spectacles and a frumpy dress and her jaw is hard and mannish. Her eyes see no pleasure, and that tacit resignation speaks more convincingly than any rhetoric of hope or change. The focus is tight and the individual broom bristles jut forward akimbo from the frame; the stars of the states line up in orderly rows, out of focus.
"American Gothic," like the rest of Parks's FSA work, is poetic and unsentimental. In one piece, a line of Benedictine nuns crosses a yard, their cowled heads turned down to the scripture, a beach tree bending in the foreground of a wind-swept prairie. In another, a woman props up her young son from the armpits, his jaw slack and his mouth a black hole; the white satin of Babe Ruth's open casket fills the lower right-hand corner of the frame.
Upon the dissolution of the FSA photographic program, Stryker sent Parks to work for the Office of War and Information where he was assigned to shoot one of the first companies of black airmen. These photos convey the sexy mechanical curves now familiar from car ads, and a cocky heroism familiar to much war photography. And conservative politicians in Washington, anticipating just this, pulled Parks off the job before the pilots shipped overseas, depriving them of the publicity and Parks of a livelihood.
Parks next tried to find work in New York, where he visited the art director of Harper's Bazaar. Though the man declared that he was impressed by Parks's portfolio, no assignments were to follow. "'I'm sorry to be frank with you,'" Parks recounts the man saying in his autobiography Voices in the Mirror, "'but there is an inflexible rule here in the Hearst organization that forbids our hiring Negroes.'" Parks took the same pictures to Condé Nast, and starting shooting fashion for Glamour and then Vogue.
Surprisingly, some of Parks's most challenging photography would appear in the eminently commercial pages of Life magazine, where he would create pleasant portraits of American artists and musicians, while also capturing some of his grimmest documentary series. One of these chronicles a few bloody weeks with the Midtowners, a New York youth gang then involved in a turf war. In one picture, a teen crouches in a darkened room, his right hand planted in a thick layer of crumbling tile, his left holding half a brick. In another, a teen bloodied at the mouth and chin, wearing a blood-spattered, double-breasted pinstripe jacket, lies supine on the ground, hands balled in fists above his head, eyes closed. At the top of the frame, a disembodied hand touches his sleeve. This young man is not going to get up.
And as Parks has looked for violence, violence has looked for him. After a white colleague greeted Parks with a quick kiss in public, three Texas men were dissuaded from attacking him only after he purchased a loaded gun in front of their eyes. Following the murder of Malcolm X, the photographer and his family were sent overseas, as the FBI suggested that the Nation of Islam had targeted Parks as a close friend of the slain leader. (Ironically, Parks's name resurfaced in the news a few years ago when the FBI investigated his goddaughter, Qubilah Shabazz, for allegedly plotting the murder of Louis Farrakhan.) Ultimately, instead of doing harm, Parks has put himself in harm's way, and he's told stories of the life there without sensationalism, cheap emotion, or easy empathy.
At the conclusion of the movie Leadbelly, a biopic that Parks directed in 1976, its title character languishes in a Southern jail. Escaped from prison and recaptured, he begins to find himself drained of the wrath that has accompanied him on his often wretched journeys through the South. He's stabbed a white man in a dance hall, and shot a black one; he'll most likely die on the chain gang.
It is at this point that Leadbelly gets a chance to set his songs to tape, as the Lomaxes of the Library of Congress pay a visit to the prison. They record Huddie Ledbetter's autobiography and songs in the warden's office. Then it's back to the dusty yard. Yet in the closing shot, we see a temporarily revivified Leadbelly, gray-haired, broad and bare-chested, breaking rocks in dizzying heat. The camera pans across his chains and moves closer, as Leadbelly raises the pickaxe and begins to swing through. And then the shot freezes. That's the end.

summary part 5

Over the next few years, Parks moved from job to job, developing a freelance portrait and fashion photographer sideline. He began to chronicle the city's South Side black ghetto and in 1941 an exhibition of those photographs won Parks a photography fellowship with the farm security administration. Working as a trainee under Roy Stryker. Parks created one of his best known photographs, American Gothic, Washington, D.C. (named after grant woods painting .The photo shows a black woman, Ella Watson, who worked on the cleaning crew for the FSA building, standing stiffly in front of an American flag, a broom in one hand and a mop in the background. Parks had been inspired to create the picture after encountering repeated racism restaurants and shops, following his arrival in Washington upon viewing it, Stryker said that it was an indictment of America, and could get all of his photographers fired; he urged Parks to keep working with Watson, however, leading to a series of photos of her daily life. Parks, himself, said later that the first image was unsubtle and overdone; nonetheless, other commentators have argued that it drew strength from its polemical nature and its duality of victim and survivor, and so has affected far more people than his subsequent pictures of Watson

After the FSA disbanded, Parks remained in Washington as a correspondent with the office of administration, but became disgusted with the prejudice he encountered and resigned in 1944. Moving to Harlem Parks became a freelance fashion photographer for vogue He later followed Stryker to the standard oil (New Jersey