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writing 5-6 pgs Biographical research paper about Carlos bulosan. i provided my university library sources and you MUST use 4 of them and you can use 2 more Sources from the internt or you can use all the sources that i provided to you. the MOST IMPORTANT THING IS TO USE TOTALL OF 6 SOURCES. i porovided Biographical research paper douc please read it carefully and follow all the instructions.Biographical research paper You need to choose an immigrant to the United States of some note (preferably not someone VERY well known) whose story helps contribute to our larger understanding of how immigrants have a positive impact on the United States. You may take a look at some of the authors listed in our Becoming Americans text. Your thesis statement should reflect your purpose, which is to prove that this person’s story is integral to the “immigrant story.” You may choose to handle this paper in one of two ways: The scholarly chronicle is the most fundamental (and common) type of biographical research with its focus on the historical portrayal of an individual life. This basic research orientation constitutes telling the subject’s story in chronological order with emphasis upon the development of a quest plot (life pattern-stages) and the description of acts of recognition (or notoriety) as the biographer marches through the life of the biographical subject. The scholarly chronicle is often viewed as synonymous with biography; however, this research orientation is markedly different from other forms of biographical inquiry.     Another genre, intellectual biography, forsakes the need for basic chronological structure and develops a narrative of a life through the conceptual analysis of the subject’s motives and beliefs within the world of ideas. Those who write intellectual biography have overcome the interpretive angst of other educational researchers; the intellectual biographer recognizes and accepts the invasive yet justifiable analysis and overcomes the intrusive nature of inquiry with care resulting in self-reflective thoughtfulness and insight.  (These descriptions come from AERA). The paper should be 5-6 pages and include at least 6 sources. These sources should come primarily through UE library resources and books. 2 may be CREDIBLE Internet sources, but no more than 2 and they must be credible. If you have any question about the credibility of a source, please feel free to ask me. I strongly recommend signing up for a Research Assistance Program (RAP) appointment to meet with a librarian once you think you know who you’d like to write about. See the link here for the form to sign up. https://www.evansville.edu/libraries/rapSignup.cfm405 Carlos Bulosan Born: Binalonan, Pangasinan, Luzon, Philippines; November 2, 1911 Died: Seattle, Washington; September 11, 1956 Bulosan was the first Filipino writer to have a major impact on American literature, and his America Is in the Heart has become an important model for the ethnobiographies that followed his work throughout the twentieth century. Biography Carlos Bulosan emigrated to the United States from his native Philippines in 1930. Like count- less other young men who had been driven to the United States by the promise of better jobs, Bu- losan found instead the crushing defeats of the worst economic depression in U.S. history. The story of his struggles during the 1930’s and early 1940’s, chronicled in the autobiographical Amer- ica Is in the Heart (1946), had a profound impact on ethnic writing after it was republished by the University of Washington Press in 1973. It is difficult to piece together Bulosan’s real life story, in part because his most important lit- erary legacy is itself a creative mix of fact and fic- tion. Even the basic outline of his life is in some dispute: Scholars disagree about the date of his birth, the date and location of his death, and his age when he died. What is known is that he was born in the village of Mangusmana, near Binalo- nan (in Pangasinan province, on the island of Luzon) in the Philippines and was one of several children. Like many rural Filipino families at that time, his parents suffered economic hardship due in part to U.S. colonialism. He completed only three years of schooling and, drawn to the Unit- ed States by the promises of wealth and education and the dream of becoming a writer, he followed two older brothers and purchased a steerage tick- et to Seattle for seventyfive dollars, arriving on July 22, 1930, while still a teenager. He would never return to the Philippines, and he would never become an American citizen. He worked at a series of low-paying jobs in an Alaskan fish cannery and as a fruit and vegetable picker in Washington and California. Conditions in the ear- ly 1930’s were miserable for all migrant workers (as documented in John Steinbeck’s 1939 novel The Grapes of Wrath) but particularly for Filipinos (then called “Pinoys”) such as Bulosan, and he ex- perienced racial discrimination and poverty. How- ever, he slowly improved his English, befriended other immigrant laborers suffering similar condi- tions, and soon was writing for and editing union and immigrant papers such as New Tide. He also became involved in organizing workers and, with his Filipino friend Chris Mensalves, formed the union that would later become the United Can- nery, Agricultural, Packing and Allied Workers of America (UCAPAWA). Never a healthy man, Bulosan was diagnosed with tuberculosis in 1936, and he spent the next several years in Los Angeles General Hospital, un- dergoing surgeries and convalescence. He used his time productively, however; America Is in the Heart Author: Carlos Bulosan (ca. 1911–56) First published: 1946 Type of work: Autobiographical novel Type of plot: Coming of age; Social issues Time of plot: ca. 1918–41 Locales: Binalonan, Philippines; Seattle, Washington; Los Angeles, California; and various other cities in the western United States Principal characters Carlos Allos Bulosan, a Filipino American writer, poet, and union activist Macario, one of his older brothers, who immigrates to the United States Amado, another one of his older brothers, who also goes to America Alloss father, a Filipino peasant farmer Meteria, his mother Jose, a union organizer, Allos and Macarios friend Eileen Odell, a woman who nurtures Alloss intellectual growth The Story When America Is in the Heart begins, World War I has ended and Carlos Allos Bulosan is around five years old. He is reunited with his eldest brother, Leon, who returns home to the Philippines after fighting in the war in Europe. With his family, Allos, who has three other older brothers and a younger sister, lives in Mangusmana, a barrio on the outskirts of Binalonan, a rural peasant village on the Philippine island of Luzon. There, his family owns four hectares of land, on which they cultivate a wide variety of crops during the year to survive. That land, however, quickly dwindles: first, Leon marries a local peasant girl and sells his one-hectare share of the property to live in another part of Luzon, then Alloss father gradually sells off the other hectares to moneylenders to pay for his brother Macarios schooling. Bulosan, Carlos. America is in the Heart: A Personal History. © 2014, University of Washington Press. Used with permission from the University of Washington Press. Though Macario graduates from high school and starts teaching in Binalonan, Alloss family eventually loses ownership of all of their land to the moneylenders. The remainder of his childhood is defined by poverty and hardship, as he goes to live with his mother, Meteria, and baby sister, Irene, in Binalonan. (Alloss father remains in Mangusmana to raise crops on other family members property.) Allos attends school for only a short time before being forced to drop out to support the family; he works a number of odd jobs and frequently travels from village to village with his mother to trade crops. Through the influence of Amado, the brother closest to him in age, he cultivates a love of books and reading, which offers him solace from the harsh realities of peasant life. A series of misfortunes nonetheless befalls Alloss family: Irene dies after a brief illness and soon afterward Macario is forced to move south after a peasant girl tries to blackmail him into marriage. Amado and Macario eventually immigrate to America in search of better opportunity, inspiring Allos to do the same. Copyright © EBSCO Information Services, Inc. • All Rights Reserved © W. S. Maney & Son Ltd 2008 DOI 10.1179/147757008X280786 comparative american studies, vol. 6, No. 2, June 2008, 123–143 Internationalizing the US Ethnic Canon: Revisiting Carlos Bulosan E San Juan, JR Philippine Forum, New York City, USA The quasi-autobiographical writing of Carlos Bulosan, a migrant farmworker from the US colony of the Philippines from the 1930s to the 1950s, was discovered by ethnic activists during the US Civil Rights struggles. Once adopted as canonical texts in the US academy from the 1980s on, Bulosan’s radical edge was blunted in critical readings of his work, his subversive tendencies sanitized to promote a conformist multiculturalism. We need to recover a submerged decolonizing strand in the history of Filipino deraci- nation, sedimented in Bulosan’s testimonies. This essay seeks to excavate those oppositional impulses in Bulosan’s works by re-contextualizing them in the anti-colonial revolutionary movement of Filipinos dating back to the revolution of 1896; to the Filipino-American War together with the peasant insurgencies during the fi rst three decades of US occupation (1899–1935); and in the popular-front mobilization during the US Great Depression up to the onset of the Cold War. Re-situated in their historical-biographical milieu and geopolitical provenance, Bulosan’s oeuvre acquires immediacy and resonance. keywords Bulosan, Philippines, Filipino–American War; Anti-Colonialism; Organic Intellectual ‘Go out into the world and live, Allos. I will never see you again. But remember the song of our birds in the morning, the hills of home, the sound of our language.’ What a beautiful thing to say to a young man going away! The sound of our language! It means my roots in this faraway soil; it means my only communication with the living and those who died without a gift of expression. My dear brother, I remember the song of the birds in the morning, the hills of home, the sound of the language [. . .] Carlos Bulosan When the Bush administration made the fateful decision in March 2003 to invade Iraq after its incursion into Afghanistan in the wake of 11 September 2001, the Philippines — its only colony in Asia for over a century — became the second battlefront in the global war against terrorism. US ‘Special Troops’ landed in the southern region of 124 E SAN JUAN, JR the country (Mindanao and Sulu) hunting for Al-Qaeda-linked Muslims called the ‘Abu Sayyaf’. Up to last year, 2006, which offi cially marks the centennial anniversary of the arrival in US territory of the fi rst twenty-fi ve natives from its new colonial possession, US troops were still actively intervening in what is basically an internal civil war in a neocolonial theater of confl ict (San Juan, 2007b; Aquino, 2005). The current crisis in the Philippines, characterized by unprecedented extrajudicial political killings and forced ‘disappearances’ carried out by State agents backed by Washington/theReview Reviewed Work(s): Writer in Exile/Writer in Revolt: Critical Perspectives on Carlos Bulosan by JEFFREY ARELLANO CABUSAO Review by: Leo Angelo Nery Source: Philippine Studies: Historical & Ethnographic Viewpoints, Vol. 65, No. 4, Hegemony and History Textbooks: Archive of Colonial Spies Filipina–GI Intimacies (dec 2017), pp. 519-523 Published by: Ateneo de Manila University Stable URL: https://www.jstor.org/stable/26621980 Accessed: 22-03-2021 05:08 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected] Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Ateneo de Manila University is collaborating with JSTOR to digitize, preserve and extend access to Philippine Studies: Historical & Ethnographic Viewpoints This content downloaded from 192.195.225.71 on Mon, 22 Mar 2021 05:08:13 UTC All use subject to https://about.jstor.org/terms JEFFREY ARELLANO CABUSAO, ED. Writer in Exile/Writer in Revolt: Critical Perspectives on Carlos Bulosan Lanham, MD: University Press of America, 2016.378 pages. Occupation: Writer . . . Estate: One typewriter, a twenty-year old [sic] suit, worn out socks; Finances: Zero; Beneficiary: His people (xix). Thus read Carlos Bulosans obituary, which was published in the Daily Peoples World in 1956. Penned by his friend and fellow unionist Chris Mensalvas, the tribute is a brief but poignant summation of Bulosans contribution not just to Philippine literature but also to social movements both in the US and the Philippines. However, although Bulosans place in literature and history is beyond dispute, interpreting his work (and his life) has been a site of contestation for the past sixty years. Early literary criticism of Bulosans writings was dominated by formalist readings until in the 1970s, under the repressive but radicalizing conditions of martial law, Bulosan and his work were liberated from promiscuous sentimentalism (xxi) and reimagined as products of the struggle against repressive and exploitative colonial relations between the US and the Philippines. Post-martial-law scholarship on Bulosan has since branched out to include, among other lenses, gender, migration, transnationalism, and culture; recent events, such as the resurgence of authoritarianism, ultranationalism, and the intensification of racial and gender discrimination, have made Bulosans experience as a Filipino exile in the US contemporary once more. The task, however, is to reintroduce Bulosan to a new generation of aspiring scholars, activists, and social scientists, without disregarding the more than half-century of scholarly work that BulosA Neatly Folded Hope: The Capacity of Revolutionary Affect in Carlos Bulosans The Cry and the Dedication Author(s): Peyton Joyce Source: MELUS , SPRING 2016, Vol. 41, No. 1, Negotiating Trauma and Affect (SPRING 2016), pp. 27-47 Published by: Oxford University Press on behalf of Society for the Study of the Multi- Ethnic Literature of the United States (MELUS) Stable URL: https://www.jstor.org/stable/44155219 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected] Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press and Society for the Study of the Multi-Ethnic Literature of the United States (MELUS) are collaborating with JSTOR to digitize, preserve and extend access to MELUS This content downloaded from ������������192.195.225.71 on Mon, 22 Mar 2021 04:28:22 UTC������������� All use subject to https://about.jstor.org/terms https://www.jstor.org/stable/44155219 A Neatly Folded Hope: The Capacity of Revolutionary Affect in Carlos Bulosans The Cry and the Dedication Peyton Joyce The George Washington University In his 1942 poem The Manifesto of Human Events, Filipino author Carlos Bulosan stages the failure of a Utopian community commemorating positive affects such as love (3) and happiness (4). In the poems narrative, a com- munity prepares for a celebratory performance. However, the performance is interrupted by violence before it can even begin, as the gunmen came and wrecked I the place in the dance of our fears (8-9). Rather than simply foreclos- ing the Utopian possibilities encouraged by the performance, this violence orients the poems speaker and his community toward an oppositional response couched within affective terms: Now we hold a neatly folded hope. When they come again with murder in their hands nobody can stop us from touching a gun nothing can keep us from throwing a bomb. (10-13)1 Significandy, fear acts as the affective hinge between positive communal affects and a radicalized, concrete hope directed at a potential future, a move that Sara Ahmed calls an affective form of reorientation (8).2 The poem suggests that this hope, sustained through ideals of love and happiness, motivates a collective chal- lenge to the social and political systems that deploy fear as a tactic.3 Although the revolutionary subjects in Bulosans poem go unnamed, the impulse for collective resistance to violence that Bulosan describes is likely indic- ative of his involvement in what Michael Denning calls the cultural front, or Popular Front public culture (14).4 In 1942, in the midBULOSAN, Carlos  Contents 1. BIBLIOGRAPHY  Full Text Listen       American Accent       Australian Accent       British Accent       September 1956, Seattle, Washington Among the most celebrated of Filipino American writers was B., whose poetry, short stories, and autobiographical history, America Is in the Heart (1946), remain vital texts for scholars of Asian American literature and class struggle alike. Known as much for his activism as for his writing, B.--who never returned to the Philippines--made the uplift of his countrymen in America his principal cause during his lifetime. B. was one of the first Filipinos to write in English while in America, and achieved nominal fame as a writer of poems and stories. Whos Who listed him in 1932, only two years after his arrival in Seattle. Freedom from Want (1943), an essay published in the Saturday Evening Post and illustrated by Norman Rockwell, expressed B.s ultimate faith in American democracy, an ideal that would alternately trouble and encourage him throughout his life. One stow, The End of the War (1944), published in the New Yorker, drew charges of plagiarism. Though the claim was settled out of court, B. and his reputation suffered from the publicity. Laughter of My Father (1944), a collection of stories serialized in the New Yorker, was misinterpreted by critics as a humorous work. B. had tried satire to convey the hardship of Filipino peasant life, a convention he decided to eschew in his personal history. Look magazine recognized America Is in the Heart as one of the fifty most important American books ever published. It documents the period beginning with the narrators childhood in the Philippines through his time in the American West searching for work and organizing Filipino laborers. Though it celebrates minor triumphs, the book focuses upon the disillusionment and tremendous brutality suffered by the narrator and his acquaintances at the hands of a racist America. Perhaps to eliminate any further doubt over his disposition as a writer, B. features the injustices of an unsympathetic system, explicitly detailing the violence visited upon the narrator because of his race and union sympathies. Still, moments of kindness from strangers rescue him from total despair and also keep the narrative from turning into polemic. Critics have described the books style as uneven--perhaps owing to B.s belief that he was dying as he was writing it--with the author himself recognizing its fragmentary quality. Controversy continued to follow B., as Filipino intellectuals questioned the veracity of his life account. The narrator could not possibly have experienced everything claimed, they argued: B. must have fabricated certain events to elevate his own stature. Since the author most likely appropriated the experiences of others, America Is in the Heart is more accurately regarded as a collective autobiography instead of as B.s own. Still, since B. saw his writing as a means toward winning