Where did Shakespeare get his ideas? In this lesson, students will read and annotate source materials written by Montaigne and others. They’ll discuss the question of what the materials say about native peoples of the Americas. They’ll also compare the ideas of Gonzalo and Montaigne.

In this lesson students will investigate the reactions Northerners and Southerners had to John Brown's Raid and create a report that would inform the president about the effects of his raid & execution & recomment whether he should be seen as a hero or a villain.Overview:1. John Brown's Body - Song Analysis2. Background information on John Brown3. Primary Document Analysis4. Presentation to the President

This course will explore food in modern American history as a story of industrialization and globalization. Lectures, readings, and discussions will emphasize the historical dimensions of—and debates about—slave plantations and factory farm labor; industrial processing and technologies of food preservation; the political economy and ecology of global commodity chains; the vagaries of nutritional science; food restrictions and reform movements; food surpluses and famines; cooking traditions and innovations; the emergence of restaurants, supermarkets, fast food, and slow food. The core concern of the course will be to understand the increasingly pervasive influence of the American model of food production and consumption patterns.

The artist lays on the Democrats the major blame for violence perpetrated against antislavery settlers in Kansas in the wake of the Kansas-Nebraska Act. Here a bearded "freesoiler" has been bound to the "Democratic Platform" and is restrained by two Lilliputian figures, presidential nominee James Buchanan and Democratic senator Lewis Cass. Democratic senator Stephen A. Douglas and president Franklin Pierce, also shown as tiny figures, force a black man into the giant's gaping mouth. The freesoiler's head rests on a platform marked "Kansas," "Cuba," and "Central America," probably referring to Democratic ambitions for the extension of slavery. In the background left is a scene of burning and pillage; on the right a dead man hangs from a tree.|"Pub. by J.L. Magee 48 Pasyunk Road Phila."|Drawn by John L. Magee.|Title appears as it is written on the item.|Weitenkampf, p. 115.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-8.

The story of John Horse and the Black Seminoles has been largely untold, but according to Professor Amy Sturgis of Signum University, it deserves to be remembered. Not only did they create the largest haven in the U.S. South for runaway slaves and lead the largest slave revolt in U.S. history, but they also secured the only emancipation of rebellious slaves prior to the U.S. Civil War. In this video, Professor Sturgis tells the incredible story of the Black Seminoles.

On May 27, 1861, Benjamin Butler, commander of the Union army in Virginia and North Carolina, decreed that slaves who fled to Union lines were legitimate "contraband of war," and were not subject to return to their Confederate owners. The declaration precipitated scores of escapes to Union lines around Fortress Monroe, Butler's headquarters in Virginia. In this crudely drawn caricature, a slave stands before the Union fort taunting his plantation master. The planter (right) waves his whip and cries, "Come back you black rascal." The slave replies, "Can't come back nohow massa Dis chile's contraban." Hordes of other slaves are seen leaving the fields and heading toward the fort.|Title appears as it is written on the item.|Weitenkampf, p. 126.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-37.

The Frederick Douglass Papers at the Library of Congress presents the papers of the nineteenth-century African-American abolitionist who escaped from slavery and then risked his own freedom by becoming an outspoken antislavery lecturer, writer, and publisher. The papers span the years 1841 to 1964, with the bulk of the material from 1862 to 1895. The printed Speech, Article, and Book Series contains the writings of Douglass and contemporaries in the abolitionist and early women's rights movements.The Subject File Series reveals Douglass's interest in diverse subjects such as politics, emancipation, racial prejudice, women's suffrage, and prison reform. Scrapbooks document Douglass's role as minister to Haiti and the controversy surrounding his interracial second marriage.

In addition to making historical points about nineteenth-century attitudes toward slavery, race, and abolition, you can use this speech to teach formal rhetoric. We have divided the address into four sections according to the function of each one. This division follows the classic structure of argumentative writing:

paragraphs 1–3: introduction (exordium)
paragraphs 4–29: narrative or statement of fact (narratio)
paragraphs 30–70: arguments and counter-arguments (confirmatio and refutatio)
paragraph 71: conclusion (peroratio)
We have included notes that explain the function of each section as well as questions that invite discussion of the ways in which Douglass deploys rhetoric to make his case.

This lesson features five interactive activities, which can be accessed by clicking on this icon . The first explores the subtle way in which Douglass compares the patriots of 1776 with the abolitionists of 1852. The second challenges students to determine how Douglass supports his thesis. The third focuses on his use of syllogistic reasoning, while the fourth examines how he makes his case through emotion and the fifth through analogy.

We recommend assigning the entire text . For close reading we have analyzed eighteen of the speech’s seventy-one paragraphs through fine-grained questions, most of them text-dependent, that will enable students to explore rhetorical strategies and significant themes. The version below, designed for teachers, provides responses to those questions in the “Text Analysis” section. The classroom version , a printable worksheet for use with students, omits those responses and this “Teaching the Text” note. Terms that appear in blue are defined on hover and in a printable glossary on the last page of the classroom version. The student worksheet also includes links to the activities, indicated by this icon .

This is a long lesson. We recommend dividing students into groups and assigning each group a set of paragraphs to analyze.

This collection uses primary sources to compare and explore the relationships between Frederick Douglass and Abraham Lincoln. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

In 1845 Frederick Douglass published what was to be the first of his three autobiographies: the Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself.  As the title suggests, Douglass wished not only to highlight the irony that a land founded on freedom would permit slavery to exist within its midst, but also to establish that he, an American slave with no formal education, was the sole author of the work.

Freedom for some meant slavery for others. The cruel irony of this nation’s founding and its “Temple of Liberty”—the U.S. Capitol—is that both were made possible by the enslavement of African Americans.

The labor of enslaved and free blacks helped build the Capitol. An enslaved African American man helped to cast the Statue of Freedom, which was placed atop the Dome during the Civil War.

Since the end of the Civil War, African Americans have struggled to move out of the shadows and into the Temple of Liberty as full participants.

This the online version of a traveling exhibit by the U.S. Capitol Historical Society that depicts the journey of African Americans from slavery to freedom and political representation in the U.S. Capitol. The exhibit opened February 2006 in Baltimore, Maryland at the Reginald F. Lewis Museum of Maryland African American History and Culture.

A sheet music cover illustrated with a portrait of prominent black abolitionist Frederick Douglass as a runaway slave. Douglass flees barefoot from two mounted pursuers who appear across the river behind him with their pack of dogs. Ahead, to the right, a signpost points toward New England. The cover's text states that "The Fugitive's Song" was "composed and respectfully dedicated, in token of confident esteem to Frederick Douglass. A graduate from the peculiar institution. For his fearless advocacy, signal ability and wonderful success in behalf of his brothers in bonds. (and to the fugitives from slavery in the) free states & Canadas by their friend Jesse Hutchinson Junr." As the illustration suggests, Douglass himself had escaped from slavery, fleeing in 1838 from Maryland to Massachusetts. He achieved considerable renown for his autobiography "Narrative of the Life of Frederick Douglass," first published in 1845. The Library's copy of "The Fugitive's Song" was deposited for copyright on July 23, 1845. An earlier abolitionist song composed by Hutchinson, "Get Off the Track!" (no. 1844-14), also used a cover illustration to amplify its message.|Boston. Published by Henry Prentiss 33 Court St.|Entered . . . 1845 by Henry Prentiss.|Lith. of E.W. Bouve Boston.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1845-7.

This course examines relationships between identity and participation in Japanese popular culture as a way of understanding the changing character of media, capitalism, fan communities, and culture. It emphasizes contemporary popular culture and theories of gender, sexuality, race, and the workings of power and value in global culture industries. Topics include manga (comic books), hip-hop and other popular music, anime and feature films, video games, contemporary literature, and online communication. Students present analyses and develop a final project based on a particular aspect of gender and popular culture.

This unit has been developed to guide students and instructors in a close reading of Lincoln’s “Gettysburg Address.” The activities and actions described below follow a carefully developed set of steps that assist students in increasing their familiarity and understanding of Lincoln’s speech through a series of text dependent tasks and questions that ultimately develop college and career ready skills identified in the Common Core State Standards.

Often compared to modern day slavery, human trafficking has become one of the world's largest hidden criminal industries. How do we, as youth, combat all forms of human trafficking?

This subject examines the paradoxes of contemporary globalization. Through lectures, discussions and student presentations, we will study the cultural, linguistic, social and political impact of globalization across broad international borders.
We will pay attention to the subtle interplay of history, geography, language and cultural norms that gave rise to specific ways of life. The materials for the course include fiction, nonfiction, audio pieces, maps and visual materials.

This subject examines the paradoxes of contemporary globalization. Through lectures, discussions and student presentations, we will study the cultural, linguistic, social and political impact of globalization across broad international borders.
We will pay attention to the subtle interplay of history, geography, language and cultural norms that gave rise to specific ways of life. The materials for the course include fiction, nonfiction, audio pieces, maps and visual materials.

Another in the "bobalition" series of broadsides parodying the manners, illiteracy, and dialect of Boston blacks. (See no. 1819-2.) This one is facetiously dated "Uly 14, 1825, 6 month and little more beside," suggesting it appeared in 1825 or 1826. It is illustrated with silhouette figures of black men, one (on the left) saying, "Bosson, Uly 14, 1825 and little arter" and the second, "That is de day ob de grand Celebrashun." The text includes mock instructions for the procession, toasts, songs, etc., to mark the anniversary of the abolition of the slave trade. One toast is to "General Jackson--Eber he get to be Presumdent ob d Nuited States, he won't hang de rascal slow."|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1825-1.

A satire on Taylor administration efforts to curtail American "filibusters," armed expeditions against Cuba for the purpose of freeing the island from Spanish rule. Specific reference here is to the Navy's blockade of one such expeditionary force, which assembled on Round Island under Colonel G. W. White in early September 1849. The many puzzling references in the dialogue and imagery here aside, it is clear that the artist is also poking fun at the expansionist dreams of Americans of the time who advocated annexation of Cuba, Canada, and even parts of South America. The artist is critical as well of the current Cuban regime. On the shore of Round Island, the would-be invaders sit at a long rustic banquet table. Nearby several youths play with marbles and hoops, while two boys and a man ride a seesaw. Beyond, two men fly star-shaped kites which read "Cuba" and "Canada." The table is set with food, apparently taken from two large baskets at right. Several of the banqueters toast, "The Queen of Slave Traders!" "The Republic of Sierra Madre!" and "Venezuela! St Domingo! and Yucatan!" A man at the head of the table, holding a "N.Y. Express Proclamation" (perhaps Zachary Taylor's 1848 proclamation denouncing the expedition) addresses them, "You should thank us ye Pirates and Robbers of Cuba for saving you from [Spanish governor of Cuba Federico] Roncali's Garrote." One of the diners protests, "We are no Pirates! we dont kidnap people from the United States nor from Africa" (a reference to the Cuban government's alleged abduction of Juan Francisco Garcia y Rey from New Orleans in July 1848 and to Cuba's slave trade). Offshore are several boats, including a U.S. naval frigate with the words "Nine Millions a year" emblazoned on its sail and a small sloop. A man in the sloop calls out to the frigate, "Help! Help! dont let Roncali trample on your laws." The man is former Havana jailer Juan Francisco Garcia y Rey, now held by the Spanish government for freeing Cuban revolutionaries. Garcia y Rey had appealed for help to the American government, on the basis of his illegal abduction by the Spanish consul. To his call comes the response, "We dont care for the laws we are reaping laurels. Mr. Rey." Others on deck on the American ship converse, saying, "This is as safe and more glorious than Tampico" and "La Cronica will let the Negroes loose upon those who escape from the proclamation."|Probably published in New York.|Title appears as it is written on the item.|Weitenkampf, p. 100.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1849-5.

An animated comic scene ridiculing the Democratic and American party candidates. In the foreground is a somewhat rickety wooden "Democratic Platform," into which presidential candidate James Buchanan has just run, knocking his mount (running mate John C. Breckinridge, in the form of a buck) unconscious. Buchanan (center, dressed as a jockey) holds his right shin and curses a ragged black youth who stands laughing on the platform, "You infernal Black Scoundrel, if it had not been for you and that cursed Slavery Plank that Scared and upset my Buck, I should have won this race certain." The black youth jeers, "Ya! Ya! Ya! Why Massa Buck. Dis is de Democratic Platform, I tink I misunderstand you to Say dat you like dis Plank [. . .] in fac dat you was de Platform [. . . .]" One of the planks in the platform is labeled "Slavery," and another "Cuba," referring to the apparent proslavery and annexationist interests of the Democrats. On the far right a small boy is hoisted onto the back of a ragged, weed-chewing man with a beard. The urchin holds a flag reading, "We Po'ked em in 44, We Peirce'd em in 52 and We'll "Buck em" in 56." The bearded man looks at the child irritably and scowls, "Hello there!! are you a Fre'mounter." At left, American party candidate Millard Fillmore, riding a goose with the head of running mate Andrew Jackson Donelson and holding a "Know Nothing" lantern, cries, "I'm "All right on the Goose," and yet I dont seem to make much head way, Gentlemen you may all laugh, but if I'm not the next President the Union Will Be Disolved, The South Wont Stand It." In the background a crowd watches the race. Two men converse, saying, "Little too much Squatter Sovereignty about that Goose Fillmore?" and "A decided Curvature of the Spine, no Back Bone Sir, "All Dough" Sir, ha! ha! ha!" The majority of the spectators, however, cheer on Republican candidate John C. Fremont whose horse takes the lead at right. On an observation or judging deck nearby stands Brother Jonathan, holding what appears to be a timer's watch. The apt comic mise-en-scene and development of the minor characters here are characteristic of John L. Magee's work.|Drawn by John L. Magee.|Title appears as it is written on the item.|Weitenkampf, p. 116.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1856-15.