American literature: character analysis

1. American literature: character analysis “Those merciless savages.”

2. Review: Start with a controlling purpose. The controlling purpose is similar to a thesis statement. It serves as somewhat of a blueprint for the entire paper by telling the reader what position the writer is taking; or what will be discussed in the paper; or what will be revealed; what will be argued, etc. A well-written essay has a clearly defined controlling purpose, with evidence to support it. An effective conclusion reasserts the controlling purpose, but it also leaves the reader with a unique thought to take away from the paper. CONTROLLING PURPOSE

3. The Scarlet Letter essays revisited: The effects of sin and guilt depend entirely on the psychology of their sufferer, a dynamic manifested in the three main characters in Nathaniel Hawthorne’s The Scarlet Letter. Hester Prynne, Arthur Dimmesdale and Roger Chillingworth show that sin and guilt can transform a person’s soul – to a tortured extent for Dimmesdale and Chillingworth, but to a redemptive degree for Hester. Through these characters’ changes, Hawthorne’s message manifests: People must accept responsibility for their actions or pay the consequences. This lack of accountability is the virus that devours Dimmesdale emotionally. Unwilling to publicly confess his sin – and unable to persuade Hester to do it for him – Dimmesdale slowly descends into a hellish pit of self-loathing. And then go on to cite quoted evidence to support this pointand continue to do this throughout the essay. CONTROLLING PURPOSE

4. Character analysis • Methods of characterization • Character’s appearance • Character’s words • Character’s actions • Author’s direct words about the character • Others’ words to or about the character • How others treat the character • How others think about the character • The thoughts and fears of the character.

5. Character analysis • Other questions: • What is the importance of the character to the story? • When and where does the character live? • What are the character’s strengths and weaknesses? • What does the character do? • What are some of the character’s qualities? • Does the character develop or change as the story progresses? • How are issues of gender, race, and social class important?

6. Character analysis • So how do we start organizing our thoughts and information? • We have already done that with our pre-writing work. • That’s the character analysis packet.

7. Character analysis So where do we start writing? We can look at some of Little Crow’s predominant traits: PRAGMATIC: He recognizes that the Dakota have little chance of defeating the white army; tries to co-exist in both worlds; seeks (often unsuccessfully) to cut the best deal for the Dakota in land negotiations; attends missionary schools to sharpen math and English skills. BRAVE/LEADER: “I am not afraid of death”; “dignified, determined, and ambitious”; to settlers and U.S. Army he emerges as a “fearsome leader”; doesn’t skirt responsibility for the war. PRIDEFUL: Taunts of being a coward push him toward his destiny; replaced by Traveling Hail, “Little Crow is stung by the defeat.”

8. Character analysis What else do we know about Little Crow? • His mother recognized his greatness when he was born. • He takes pride in his heritage and native customs: He maintains native speech and attends functions “dressed in beautifully beaded trousers, a silk shirt, and red belt and neckerchief.” • Described as “dignified, very determined, and ambitious.” • Was a womanizer and gambler in his young adulthood. • He does not want to get “caught and hung,” but he also does not skirt responsibility for the war.

9. CHARACTER ANALYSIS • Now, we ask: Do these character traits line up with the stereotypes? Is here merely: • A “savage”? • A “noble warrior”? • A “spiritual person”? • A “drunken Indian”?

10. Character analysis How do we start formulating this portrait? A good attention-getter is always a good strategy, followed by the thesis statement: A murdering savage or a people’s savior. Depending on different historical perspectives, Chief Little Crow can seen as both, neither, or someone in between. However, it is clear that Minnesota’s most famous Native American leader is more than the Indian of Hollywood lore or the mythical figure of Dakota legend. He is a complex man whose ambition, leadership and flaws force a contemporary reexamination of Native American stereotypes.

11. Character analysis Notice what we have done here right away: • We have identified Little Crow. • We have established the controlling purpose: that this is going to be a paper discussing Little Crow and stereotypes. • We have introduced three general points/characteristics that will help address both of those discussion points: his ambition, leadership and flaws.

12. Character analysis • Now, we build on the introduction with specific details in paragraph 2: • Little Crow is arguably the most compelling figure in the 1862 war between Minnesota Dakota and the U.S. Army. He is a reluctant leader whose pragmatic outlook on his people’s prospects in the battle do not prevent him from engaging in the bloodiest battles in U.S.-Dakota war history, according to Star Tribune writer Curt Brown in his six-part series “A Man Lost in History.” • Let’s stop here to see what we have accomplished. • We have put Little Crow in his time period. • We have included a critical component of the series: that this takes place in Minnesota and is one of the historically worst battles. • We have also identified the author of the series (Curt Brown).

13. Character analysis • Refer to the packet this way: • A six-part series titled “A Man Lost in History,” written in 2012 by Minneapolis Star Tribune writer Curt Brown. • Then your in-text citations should refer to the specific articles in the series.

14. CHARACTER ANALYSIS Let’s continue: • Estimates put the eventual toll of soldiers and settlers at 600, many buried where they fell in unmarked graves. As Brown notes, if the same percentage of Minnesota’s population were killed today, 15,000 people would be dead. Little Crow believed there was great honor in his soldiers fighting U.S. soldiers and his warriors were responsible for horrific attacks on settlers, according to Brown. • Yet, Little Crow is hardly the stereotypical “savage” Native American portrayed in Hollywood films.

15. Character analysis • What have we accomplished? We have set up the contrast that will drive the paper: • He was a fearsome warrior who participated in some bloody warfare. • Yet, we now can add some balance to that portrait, which will help offset the stereotype: • He remained unconvinced that war is the Dakota’s best option. • He is furious that his warriors have scattered and targeted immigrant families. • He is not motivated by bloodlust alone: He (and the Dakota) are responding to years of broken promises, insults, and the horrific reality of watching their children starve to death on the reservations.

16. Character analysis • Establishing the other important source of information: “Reel Injun.” • Cite it as: • The 2009 Neil Diamond film documentary, “Reel Injun” examines Hollywood’s depiction of Native Americans through a century of cinema.

17. Character analysis • Now, we establish more contrasts in the paper, pointing out that: • While an inspirational leader, Little Crow is also ambitious, and in his younger years, was a womanizer and gambler. • While remaining true to his native customs and heritage, he also adopts white ways, including education, religion and culture. • While looked at by many as a fearsome and shrewd leader, he is also criticized by his own people for negotiating dubious land deals that hurt the Dakota long term. • So, what should emerge is a portrait of a man who counteracts the stereotypes in both good and bad ways.

18. Character analysis Reminders: • Write in present tense(except when directly quoting a source. In other words, do not change past tense in a quote to present tense). • Write in third person (this includes avoiding second-person “you” when possible). • Cite passages from the text to support your points. • Double-space throughout. • 12-point type. • About 2 ½ to 3 pages ought to do it, but that’s just a guideline. • Format in MLA style

19. Character analysis • Your last name 1 • Your first and last name • American Literature • Mr. Johnston • 4 March 2013 • TITLE IS CENTERED • Every page after this will have your last name and the page number in the upper right hand corner.