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It must be 4 pages, typed, double-spaced, and meet the definition of critical, college-level, writing….

It must be 4 pages, typed, double-spaced, and meet the definition of critical, college-level, writing….

It must be 4 pages, typed, double-spaced, and meet the definition of critical, college-level, writing. You ARE REQUIRED to include quotes from the assigned text(s) for each prompt. Include pages numbers for citations of course materials (articles, books, book chapters). The format should follow basic college style: Use italics for titles of books or films, e.g. Making San Francisco American. Use quotes for titles of articles or book chapters, e.g. “Playing in the City” from Making San Francisco American. For quotes longer than three lines you need to offset: that means indent and single space. Do not use quote marks around offset quotations. For citation format, you can simply put the page number in parentheses at the end of a quote, e,g, (17). If you do not indicate the source of your quote before the quote itself, you can include that information in parentheses with the page number, e.g. (Berglund, 17). If you use any outside sources, you are required to cite them (with a full citation in a footnote). You are NOT required to include a formal Bibliography or Works Cited. Again, You ARE REQUIRED to include quotes from the assigned text(s) for each prompt. (You are free to use quotes from the films, but this does not substitute for using quotes from the assigned texts.) I want you to teach me what you have learned in the first half of the semester. You are free to go over the required page length if you feel you need to in order to fully answer the question(s). I would never penalize someone for doing additional work. However, if you go under the required page length, I am required to grade you down. Everyone is required to answer question 1. Choose and answer one more from among the remaining essay questions (so your paper answers a total of 2 questions in a 4-page format). Again, You ARE REQUIRED to include quotes from the relevant text(s) for each answer. Do not repeat these questions as part of your answers. 1. Using Berglund’s “Imagining the City,” critically discuss the California Mid-Winter International Exposition of 1894 and what it tells us about San Francisco modernism. Cite specific examples of how we can think critically about this fair (e.g. commodification, race, gender, modernity, nature, etc.) in relation to modernism. You may also use Olalquiaga’s discussion of the first World’s Fair in her “The Crystal Palace” as an additional critical source. (Required) 2. Critically discuss one of the unique cultural spaces analyzed in either “Living in the City” or “Playing in the City” in Berglund’s text. Feel free to refer to other texts. Your answer should focus on at least one substantive issue discussed in class (e.g. class, race, commodification, nature, modernity, etc.). Bringing more than one of these issues to bear on your reading is encouraged. Feel free to draw from any additional works you may be interested in. 3. Critically discuss Ishi: The Last Yahi. What kinds of problems does Ishi’s “capture” as the “last wild Indian” point to? (You will have to choose a textual source, e.g. Solnit, that may not specifically be “on” Ishi to provide textual support for your paper) 4.Using Berglund’s chapter on “Playing in the City” as a critical source, discuss Madams of the Barbary Coast and the history of prostitution in SF. You can include discussions of the Barbary Coast, Chinatown, etc. Your response should discuss substantial issues (e.g. gender, race, slavery, etc.). 5. Using Berglund’s “Making Race in the City,” critically discuss Chinatown as a space of tourism and spectacle. What kinds of critical issues does this bring up (regarding, for example, commodification, Orientalism, exclusion, and race)? Use specific examples in your discussion. 6. Using Celeste Olalquiaga’s “The Crystal Palace” and/or Berglund’s “Playing in the City” as a critical source, critically discuss Sutro’s Baths as a uniquely “modern” space of amusement. How was Sutro’s an example of modern architecture, including its Victorian interior, and what modern practices and relations were bound up with this space?

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