May 21, 2012

Analyzing Primary Sources: Learning from Political Cartoons

Pride goeth before destruction
Political cartoons, many of which contain both an image and text, are great primary sources to use with students to help them recognize and understand symbolism, perspective, and bias as well as put people, events, issues, and ideas into historical context. The analysis of political cartoons, like other primary source images, align closely to the Common Core State Standards (CCSS) Anchor Reading Standards. They are also particularly helpful in meeting grade 6-12 Literacy in History/Social Studies Reading Standards 1, 2, 4, 7, and 9 (CCSSI-ELA p. 61).

The Library of Congress has a few political cartoon collections with many images available online (American Cartoon Prints, British Cartoon PrintsSwann Collection of Caricature and Cartoon as well as numerous online exhibitions devoted to cartoons (Hold control/command + F and type cartoon to find each instance). You will also find thousands of cartoons in the Prints & Photographs collection of Miscellaneous Items in High Demand, including this wonderful set from the political magazine Puck (1871-1918), and by searching the digitized historical newspapers in Chronicling America. And don’t miss these PSN-featured political cartoons featured.

To help students analyze political cartoons, you can have them use the Library’s primary source analysis tool and the list of guiding questions provided below, which were adapted from this list. You might also want to check out this political cartoon primary source set (includes a teacher guide).

Political Cartoon Analysis Guiding Questions

OBSERVE: Identify and note details

  • What do you notice first? Describe what else you see.
  • Describe what is happening in the cartoon. What people and objects are shown? How are they arranged? How do they relate to one another?
  • What is the physical setting? Is place important?
  • Is the cartoon realistic, exaggerated, or abstract? What do you see that looks different than it would in a different kind of illustration, photograph, or other work of art?
  • Do you recognize any symbols? Describe any that you see
  • Are any words used? Are there few words or a lot of words? Do any of the words help explain the symbols?
  • Are there details that suggest the time period this cartoon relates to? Is the creation date listed in the bibliographic record? If the creation date is listed, was this cartoon created at or around the same time period the cartoon relates to?
  • What other details can you see?

REFLECT: Generate and test hypotheses

  • What tools might have been used to create this cartoon?
  • Why do you think the creator chose to include the people and objects shown? What might have been left out of the frame?
  • Are the words used literal or figurative? How do you know? Why do you think the creator chose these particular words? Do you think anything was purposefully left unsaid?
  • How are symbols used and what do you think they mean?
  • What perspective or bias does this cartoon show? What evidence supports your conclusion?
  • Why do you think this cartoon was made? What might have been the creator’s purpose? What evidence supports your theory?
  • Who do you think was the audience for this cartoon? What do you think the creator might have wanted the audience to think or feel? Does the arrangement or presentation of objects and text affect how the audience might think or feel? How?
  • What do you feel when looking at this cartoon?
  • What was happening during the time period this cartoon represents? If someone made this cartoon today, what would be different/the same?
  • What did you learn from examining this cartoon? Does any new information you learned contradict or support your prior knowledge about the topic of this cartoon?

QUESTION: What didn’t you learn that you would like to know about? What questions does this map raise? What do you wonder about . . .

  • Who?
  • What?
  • When?
  • Where?
  • Why?
  • How?

What sources might you consult to learn more?

Please feel free to download and distribute the Political Cartoon Analysis Guiding Questions document and the primary source analysis tool (but please keep the formats, including logos, intact).

Analyzing Primary Sources: Learning from Images

Analyzing Primary Sources: Learning from Maps

Analyzing Primary Sources: Learning from Oral Histories

Analyzing Primary Sources: Learning from Texts

Analyzing Primary Sources: Learning from Texts

Printed Ephemera
The Common Core State Standards (CCSS) strike a balance between the reading of literature and informational texts and promote the use of a wide range of text types: “Through reading a diverse array of classic and contemporary literature as well as challenging informational texts in a range of subjects, students are expected to build knowledge, gain insights, explore possibilities, and broaden their perspective.” [Key Points In English Language Arts] Through the analysis of primary source texts, students will gain practice in all of the Common Core Reading Anchor Standards.

LOC.gov is a virtual treasure trove of primary source texts that can engage students while fostering literacy.  In the online collections you’ll find articles, memoranda, legislation, letters, diaries, advertisements, printed ephemera, sheet music, and more. If you’re looking for primary sources, try the following sections: American Memory, Chronicling America Historical Newspaper Collection, Collaborative Digital Libraries, Exhibitions, Manuscripts (items from various sections), Thomas (U.S. legislation). You’ll also find loads more reading materials; try the following: America’s Library (short historical stories for elementary students), Country Studies (online versions of books published by the Federal Research Division of the Library of Congress/Department of the Army), Digitized Materials from the Rare Book & Special Collections DivisionEveryday Mysteries (short science Q&A stories for elementary students), Poetry resources, Reading Rooms (HispanicEuropeanAsianAfrican & Middle Eastern).

To help students analyze primary source texts, you can have them use the Library’s primary source analysis tool and the list of guiding questions provided below, which were adapted from this list and this list.

Text Analysis Guiding Questions

OBSERVE: Identify and note details

  • What type of text is this (letter, newspaper article, report, memorandum, legal document, advertisement, etc.)?
  • Does the text have any special features (handwritten, typed, letterhead, form, notations, signature, stamp, etc.)? Does anything look strange or unfamiliar?
  • Are there any headers, headlines, or other formatting that call out specific parts of the text?
  • Are there any images or illustrations? What do they show?
  • Is place relevant to this text? How?
  • Are one or more dates listed in the text (written/published)? Is the creation date listed in the bibliographic record? If the creation date is listed, was this text created at or around the same time period the text relates to?
  • Did a person or group other than the author publish this text? If so, who?
  • What does the text describe or explain?

REFLECT: Generate and test hypotheses

  • What tools might have been used to create this text?
  • Why do you think this text was made? What might have been the author’s or publisher’s purpose? What evidence supports your theory?
  • Why do you think the author chose to include these specific details of description or explanation? What information might have been left out of the text?
  • If images or illustrations are included, what purpose might they serve?
  • Who do you think was the audience for this text?
  • What do you think the author might have wanted the audience to think or feel? Does the arrangement or presentation of words, illustrations, or both affect how the audience might think or feel? How?
  • What do you feel when reading this text?
  • Does this text show clear bias? If so, towards what or whom? What evidence supports your conclusion?
  • Are there details that reference other people or events of the time period? What was happening during this time period? If someone wrote this text today, what would be different/the same?
  • What did you learn from examining this text? Does any new information you learned contradict or support your prior knowledge about the topic of this text?

QUESTION: What didn’t you learn that you would like to know about? What questions does this text raise? What do you wonder about . . .

  • Who?
  • What?
  • When?
  • Where?
  • Why?
  • How?

What sources might you consult to learn more?

Please feel free to download and distribute the Text Analysis Guiding Questions document and the primary source analysis tool (but please keep the formats, including logos, intact).

Analyzing Primary Sources: Learning from Images

Analyzing Primary Sources: Learning from Maps

Analyzing Primary Sources: Learning from Oral Histories

Analyzing Primary Sources: Learning from Maps

Map Showing The Burnt District In Chicago : Published For The Benefit Of The Relief Fund
Oh, the wonderful worlds we discover when we look at maps! The original infographics, maps help us visualize places, features, activities, distributions, routes, and more. The Common Core State Standards (CCSS) consider maps a type of informational text for grades K-5 (CCSSI-ELA p. 31) and the analysis of primary source maps aligns to the Common Core Reading Anchor Standard 7—Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words—and is specifically mentioned in standard 7 for grades 3 & 6-8 (CCSSI-ELA p. 14 & p. 61).

The Library of Congress provides access to thousands of digitized primary source maps. You can print them out, but they are often best viewed online thanks to the wonderful technologies the Library employs that allow us to zoom into maps with incredible detail. To access even more digitized maps, click the following links: online collections of geography and maps (updated digitized map collection), maps in online exhibitions & collaborative digital world library collections, and maps from the World Digital Library.

To help students analyze maps, you can have them use the Library’s primary source analysis tool and the list of guiding questions provided below, which were adapted from this list.

Map Analysis Guiding Questions

OBSERVE: Identify and note details

  • What type of map is this (climate, economic or resource, military, physical, political, topographic, transportation, etc.)?
  • What place or places does the map show?
  • What size and shape is the map?
  • What do you notice first? Describe what else you see.
  • What details do you see that look unfamiliar, strange, or out of place?
  • What, if any, words do you see?
  • Does the map have any special features (e.g., legend, scale, description, notations, compass, etc.)? What information do these features provide?
  • Are there details that suggest the time period this map relates to? Is the creation date listed in the bibliographic record? If the creation date is listed, was this map created at or around the same time period the map relates to?
  • What other details can you see?

REFLECT: Generate and test hypotheses

  • What tools might have been used to create this map?
  • Why do you think this map was made? What might have been the creator’s purpose? What evidence supports your theory?
  • Why do you think the creator chose to include the details shown? What might have been left off the map?
  • Who do you think was the audience for this map?
  • What do you think the creator might have wanted the audience to see or think? Does the arrangement or presentation of the details affect how the audience might think? How?
  • Does this map show clear bias? If so, towards what or whom? What evidence supports your conclusion?
  • What was happening during the time period this map represents? If someone made this map today, what would be different/the same?
  • What did you learn from examining this map? Does any new information you learned contradict or support your prior knowledge about the topic of this map?

QUESTION: What didn’t you learn that you would like to know about? What questions does this map raise? What do you wonder about . . .

  • Who?
  • What?
  • When?
  • Where?
  • Why?
  • How?

What sources might you consult to learn more?

Please feel free to download and distribute the Map Analysis Guiding Questions document and the primary source analysis tool (but please keep the formats, including logos, intact).

Analyzing Primary Sources: Learning from Images

Analyzing Primary Sources: Learning from Oral Histories

Analyzing Primary Sources: Learning from Texts

Analyzing Primary Sources: Learning from Images

Destitute pea pickers in California. Mother of seven children. Age thirty-two. Nipomo, California
They say pictures are worth a thousand words. Primary source images, whether they are photographs or prints, provide windows into unique perspectives of people, places, and events. The analysis of primary source images helps scaffold and differentiate learning and aligns closely to the Common Core State Standards (CCSS).

The Library of Congress is a treasure trove of primary source images, the bulk of which you will find in the American Memory collections and the Prints & Photographs collections. Image source sets are included in the Themed Link Sets (more coming soon) and most Primary Source Picks posts. You’ll find lots of primary source image activities in the Teaching & Learning section and search advice and more in the Tech Tips & Tutorials section. And don’t forget the Featured Images archive.

To help students analyze images, you can have them use the Library’s primary source analysis tool and the list of guiding questions provided below, which were adapted from this list.

Image Analysis Guiding Questions

OBSERVE: Identify and note details

  • What type of image is this (photo, painting, illustration, poster, etc.)?
  • What do you notice first? Describe what else you see.
  • What’s happening in the image?
  • What people and objects are shown? How are they arranged? How do they relate to each other?
  • What is the physical setting? Is place important?
  • What, if any, words do you see?
  • Are there details that suggest the time period this image relates to? Is the creation date listed in the bibliographic record? If the creation date is listed, was this image created at or around the same time period the image relates to?
  • What other details can you see?

REFLECT: Generate and test hypotheses

  • What tools might have been used to create this image?
  • Why do you think this image was made? What might have been the creator’s purpose? What evidence supports your theory?
  • Why do you think the creator chose to include these particular details? What might have been left out of the frame?
  • Who do you think was the audience for this image?
  • What do you think the creator might have wanted the audience to think or feel? Does the arrangement or presentation (lighting, angle, etc.) of the details affect how the audience might think or feel? How?
  • What do you feel when looking at this image?
  • Does this image show clear bias? If so, towards what or whom? What evidence supports your conclusion?
  • What was happening during the time period this image represents? If someone made this image today, what would be different/the same?
  • What did you learn from examining this image? Does any new information you learned contradict or support your prior knowledge about the topic or theme of this image?

QUESTION: What didn’t you learn that you would like to know about? What questions does this image raise? What do you wonder about . . .

  • Who?
  • What?
  • When?
  • Where?
  • Why?
  • How?

What sources might you consult to learn more?

 

Please feel free to download and distribute the Image Analysis Guiding Questions document and the primary source analysis tool (but please keep the formats, including logos, intact).

Analyzing Primary Sources: Learning from Maps

Analyzing Primary Sources: Learning from Oral Histories

Analyzing Primary Sources: Learning from Texts

Selecting Primary Sources: Criteria for Classroom Use

Selected Library of Congress collections
The skills needed to analyze primary sources are the same types of skills emphasized by the Common Core State Standards (CCSS) for Reading. When selecting primary sources to use with students, keep the criteria listed below in mind to ensure valuable learning experiences.

KNOW YOUR STUDENTS

Engagement

  • Will your students want to dig deep, ask questions, and learn more about the primary source?
  • Is the source interesting?
  • Is the source relevant to a current unit or theme?
  • What primary source type(s) will best engage students?

Appropriateness

  • Is the content of the primary source suitable for your students?
  • Is the source too simple or too complex?

Length

  • Will the length of the primary source affect student comprehension?
  • Would an excerpt be more appropriate than the source in its entirety?

Vocabulary

  • Is the vocabulary used in the primary source at an appropriate level?
  • Will your students be able to decode the text or decipher the audio?
  • Will outdated terms need to be defined?
CONSIDER HISTORICAL CONTEXT

Background knowledge

  • Will students be familiar with any of the people or personal, social, cultural, or political events happening around the time the primary source was created?
  • Will students need to be introduced to certain information in order to interact successfully with the source?
Note: You may choose to have students analyze primary sources specifically to gain a better understanding of student background knowledge on a particular topic.
 

Contextual clues

  • Are there clues within the primary source (not the bibliographic record) that will help students place the source into historical context?
  • Will students be able to identify clothing or technology from a certain time period?

Creator & creation date

  • Are the creator’s name and creation date available on the primary source or in the bibliographic record?
  • Would additional information about the creator be useful when analyzing this source?
  • Was the source created close to the time that it represents?

Additional bibliographic information

  • How detailed is the bibliographic record?
  • Does the bibliographic record provide historical context?
  • When and what bibliographic information should you reveal to students?
  • Will Library catalog notes or other markings distract students or interfere with their ability to place the source into historical context?
  • Do your students need a source with a more descriptive bibliographic record to help with further research?
THINK ABOUT PERSPECTIVE

Audience, purpose & bias

  • Does the primary source provide enough clues to identify the intended audience and purpose (idea, agenda, etc.)?
  • Is there evidence of a particular bias?

Personal bias

  • Consider your own beliefs about a historical event or issue. By selecting a particular primary source, are you inadvertently presenting one point of view over another?
  • If you plan to use an excerpt of a source, is the meaning of the entire source preserved?

Variety

  • When using more than one primary source, have you selected items that present different perspectives?
  • What types of sources will best help students construct knowledge?
EVALUATE SOURCE QUALITY & FORMAT

Source quality

  • Is text legible?
  • Will handwriting impact your students’ understanding?
  • Is the image sharp and bright enough?
  • Is the audio loud and clear enough?
  • Does background noise interfere with spoken words?
  • Will students understand accents?
  • Is there a transcript?
Note: Some digitized manuscripts and audio files from the Library’s collections are accompanied by transcripts. Although these are generally considered secondary sources, transcripts are a tool that can make it easier to use certain sources with students.
 

Physical format

  • Are you able to zoom into details on the digitized primary source?
  • Can your print out these details or is the primary source best used in its digital format?

File format

  • Are you using the highest quality primary source available on the Library’s website?
  • Is the source clear enough for students to locate important details and make reflections about what’s happening?
Note: Images on the Library website often have several file formats, including high resolution JPEG and TIFF files. Consider using a larger file type when projecting or printing out sources. For higher quality audio, use the WAV format. For higher quality video, use the MPEG format.
 
PLAN FOR IMPLEMENTATION

Instructional goal

  • What is the overall primary source activity or project goal?
  • What questions are you trying to answer?
  • What problem are students trying to solve or what product are they trying to create?

Activity types

  • How will the primary source(s) be used (as the basis for class discussion, written reports, in-class presentations, role playing, etc.)?

Classroom management

  • Are the primary sources best used in individual, small group, or class activities?

Time

  • How much time must I allocate for this primary source activity or project?

Assessment

  • What output(s) will this primary source activity or project generate?
  • Will the activity or project be assessed quantitatively, qualitatively, or both?

Learning from the Source: Mourning Lincoln & the Art of Tribute

Our noble chief has passed away: elegy on the death of Abraham Lincoln words by Geo. Cooper; music by J.R. Thomas.

From the Library of Congress bicentennial exhibition—With Malice Toward None—we learn a bit about the profound effect Abraham Lincoln’s death had on people all over the world.

The assassination of President Abraham Lincoln on Good Friday, April 14, 1865, had a tremendous impact both in the United States and abroad. People in Great Britain, which had favored the South, mourned as if Lincoln had been their leader. France, whose citizens had made no secret of their sympathy for the Union, paid tribute in verse and song. All eyes were on this struggling American democracy, so aptly personified in the person of Abraham Lincoln, and the world mourned his passing.

The pursuit of the assassin, John Wilkes Booth, was one of the most extensive manhunts ever mounted by the United States government. The search lasted twelve days, by which time the body of President Lincoln, transported by rail on a thirteen-day journey to Springfield, Illinois, for burial, was half way to its resting place. Unending crowds of mourners lined the tracks between Washington and Springfield to pay their final respects to the martyred President Abraham Lincoln.

Artists, too, mourned Abraham Lincoln’s passing and paid tribute to the fallen leader. Below you will find links to songs, poems, and sculptures that mourned Lincoln or paid tribute to him. What more can you learn about how people felt about Lincoln, his death, his character and his achievements by analyzing these works of art?

You may choose to have students analyze multiple sources of one type of artistic work or one source of each type. As noted in the Analyzing Primary Source Images: Common Core State Standards Alignment post, primary source analyses map very well to the Common Core State Standards. For this activity, use the Common Core English Language Arts: Literature for your students’ grade level as a guide for developing analysis questions. Some additional analysis questions are provided below.

  • How did the artist feel about Lincoln? Use details from the work to provide support for your reasoning.
  • Who do you think was the audience for this work? Use details from the work and the bibliographic record to support your response.
  • What aspects of Lincoln’s charter or his achievements does the work highlight? Do you think these are the most significant aspects of Lincoln’s character or achievements? Explain your conclusions.
  • Do you think the work is an appropriate memorial to Lincoln? Use details from the work to provide support for your viewpoint.
  • Which work do you find most effective in stimulating listeners, readers, or viewers to remember significant aspects of Lincoln’s life? Explain your response.

Sheet music and audio files*

Lincoln’s dying refrain Lincoln’s Requiem Funeral march: to the memory of Abraham Lincoln, the martyr president
Lincoln’s dying refrain 1865 (music) Lincoln’s Requiem 1865 (music) Funeral march: to the memory of Abraham Lincoln, the martyr president
1865 (music)
Lincoln’s Funeral March Rest, Noble Chieftain
Lincoln’s Funeral March 1865 (music) Rest, Noble Chieftain 1865 (music)

Poetry

Lincoln & the Poets “When Lilacs Last in the Dooryard Bloom’d” “Hush’d Be the Camps To-day” & ”This Dust Was Once the Man”
Lincoln & the Poets (6 poems from various authors) “When Lilacs Last in the Dooryard Bloom’d” (Walt Whitman) “Hush’d Be the Camps To-day” & ”This Dust Was Once the Man” (Walt Whitman)

Sculpture

Lincoln Memorial and reflecting pool Army blimp at Lincoln Memorial Lincoln Memorial, Washington, D.C.
Lincoln Memorial and reflecting pool Army blimp at Lincoln Memorial Lincoln Memorial, Washington, D.C.
Lincoln Memorial, Washington, D.C. Lincoln Memorial statue Close-up view of the statue of Abraham Lincoln
Lincoln Memorial, Washington, D.C. Lincoln Memorial statue Close-up view of the statue of Abraham Lincoln
Lincoln statue, bronze Lincoln Monument in Grant Park  Lincoln Square, Chicago
Lincoln statue, bronze, Lincoln Park Lincoln Monument in Grant Park Lincoln Square, Chicago
Lorado Taft next to his statue of Abraham Lincoln  The Commander in Chief  Sculpture of Lincoln sitting on a park bench
Lorado Taft next to his statue of Abraham Lincoln The Commander in Chief Sculpture of Lincoln sitting on a park bench
 Abraham Lincoln statue in front of a grammar school  Lincoln Statue, Court house Abraham Lincoln statue at the Old District Courthouse
Abraham Lincoln statue in front of a grammar school Lincoln Statue, Court house Abraham Lincoln statue at the Old District Courthouse
Abraham Lincoln as captain in the militia Statue of Lincoln National Cathedral  Abraham Lincoln and his horse
Abraham Lincoln as captain in the militia Statue of Lincoln National Cathedral Abraham Lincoln and his horse

More learning activities

  • How do the songs written in tribute to Lincoln after his death compare to this march written in tribute to Lincoln and published in 1862 while he was still alive? President Lincoln’s Grand March 1862 (music)
  • If you or one of your students can read and play music, analyze the lyrics and/or music of more songs. Lincoln tribute sheet music.
  • For more learning activities related to Walt Whitman & Lincoln, see Learning from the Source: The Art of Mourning.
  • What is the role of place in the Lincoln sculptures?
  • How does the addition of people to these photos of Lincoln memorials affect how you view the sculpture tributes?
  1. Boy’s Clubs in front of Lincoln National Monument
  2. Adults and children lining the walkway in front of the tomb of Abraham Lincoln
  3. Lincoln Statue, Lincoln Memorial
  4. Black Panther Convention, Lincoln Memorial

You might also want to learn more about the assassination of Abraham Lincoln and check out this activity idea from the Teaching with the Library of Congress blog: Point of View in Statues of Abraham Lincoln: Three Looks at a Leader – A Primary Source Starter.

What other activities can you generate using primary sources from the Lincoln tribute primary source set?

* compiled by Benjamin Robert Tubb

Connecting to the Common Core: Primary Source Thinking Triangle Activity

"Carrying-in" boy in Alexandria Glass Factory, Alexandria, Va. Works on day shift one week and night shift next week.
Educational consultant and author Dr. Bertie Kingore has some great ideas for teaching. TPS-Barat adapted her thinking triangle for use with primary source image analysis. This activity requires students to use higher level thinking skills as they interact with a primary source image. The thinking triangle also gives students practice in the visual equivalent of Common Core State Standards (CCSS) reading anchor standard 2.

When implementing this activity, you may choose to use a single image or a group of related images; you may also have students begin by looking at their images and first generating how and why questions. As with many primary source activities, the thinking triangle activity can be used at the beginning of a unit to get a sense of student background knowledge, attitudes, and thinking processes or at the end of a unit to assess student ability to make connections and  demonstrate new understandings.


Primary Source Activity: Thinking Triangle[1]

Follow the directions below to record thoughts about the image using the thinking triangle.

Row 1 (Who/What?): Think about who or what this image represents and describe it in one word (write the word on the top line in the triangle).

Row 2 (When?): Think about the time period this image represent sand describe it in two words (wirte each word on one line in the second row).

Row 3 (Where?): Think about the place shown in this image and describe it in three words (write each word on one line in the third row).

Row 4 (How?): Think of a How question that this image answers and write the answer in four words, one word on each line in the fourth row.

Row 5 (Why?): Think of a Why question that this image answers and write the answer in five words, one word on each line in the fifth row.

Please feel free to download and distribute the Primary Source Thinking Triangle Activity (but please keep the citation and format, including logos, intact).

Related PSN Posts

Connecting to the Common Core: Analyzing Primary Source Images

Connecting to the Common Core: Image Questions & Responses

Connecting to the Common Core: Image Sequencing Activities

Connecting to the Common Core: Purposeful Questions & Close Observation

_____________________

¹ Adapted from the Thinking Triangle activity found in Kingore, Bertie. Teaching without Nonsense: Activities to Encourage High-Level Responses. Professional Associates, 1999.

Connecting to the Common Core: Image Questions & Responses


Questioning & the Common Core State Standards

The Common Core State Standards (CCSS) for Reading emphasize teaching students to become active questioners beginning in kindergarten.

  • RL/RI.K.1. With prompting and support, ask and answer questions about key details in a text.
  • RL/RI.1.1. Ask and answer questions about key details in a text.
  • RL/RI.2.1. Ask and answer such questions as who, what, where, when, why, and how to demonstrate understanding of key details in a text.
  • RL/RI.3.1. Ask and answer questions to demonstrate understanding of a text, referring explicitly to the text as the basis for the answers.

By 4th grade, specific practice with questioning disappears from the CCSS standards text.

  • RL/RI.4.1. Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.

Question-Answer Relationships (QAR)

One way to help students become active questioners is to use the Question-Answer Relationships (QAR) framework developed by Taffy E. Raphael (1982, 1986). Briefly, QAR helps students increase reading comprehension by recognizing different types of questions and understanding where the answers to those questions can be found.

QAR  →  Image Questions and Responses

TPS-Barat has adapted Dr. Raphael’s QAR framework to primary source image analysis, providing teachers with an approachable, scaffolded learning activity that focuses on comprehension of content while reducing linguistic cognitive load. Once students have mastered key questioning and thinking skills using images, they can more easily apply these skills to texts, combining reading comprehension with oral or written expression.

In the Image
  • Right There – Literally, “What do I see?” This question relates to explicit information present in the image. Responses should lead to objective statements.
  • Think & Search – These questions require you to think about how certain details in an image relate to one another and to the image as a whole. Responses should summarize or explain how the details add to the information, story, or idea presented by the image.
In My Head
  • Creator & Me – These questions require you to make inferences as you consider the purpose of the creator in presenting information or ideas in the particular way that s/he did. Responses should point to particular details, techniques, or both, that support your thinking.
  • On My Own – These questions focus on making personal connections to the image based on your own experiences and knowledge. They also ask you to draw conclusions and consider what more you would like to learn. Responses should help you move beyond the information, story, or idea presented in the image and find personal relevance to the content.

Image Questions & Responses Chart

IN THE IMAGE
Right There
What do I see?
Think & Search
How do individual details relate to one another and to the complete image?
What do these details add to the information, story, or idea presented by the image?

 

 

IN MY HEAD
Creator & Me
Why did the creator choose to include the things I see?
What did s/he want me to think or feel?
What details or techniques in the image support my thinking?
On My Own
What does this image remind me of?
What would I be doing or thinking if I were a person or object in this image?
What conclusions can I draw about this image?
What more would I like to know about the information, story, or ideas presented by the image?
What questions should I ask to learn more?

 

 

 

 

 

Please feel free to download and distribute the Image Questions & Responses chart (but please keep the format, including logos, intact).

For more on QAR, see: Raphael, T. E., & Au, K. H. (2006). QAR Now: Question Answer Relationships. New York: Scholastic.

Related PSN posts

Connecting to the Common Core: Analyzing Primary Source Images

Connecting to the Common Core: Image Sequencing Activities

Connecting to the Common Core: Primary Source Thinking Triangle Activity

Connecting to the Common Core: Purposeful Questions & Close Observation

Connecting to the Common Core: Analyzing Primary Source Images


Although image analysis activities do not generally require reading (apart from reading bits of text found in an image), the skills required to extract information from visual content are similar to those required to extract information from text. Practicing these skills using primary source images provides students with a great scaffolded learning opportunity. The table below shows how the Common Core State Standards (CCSS) Reading Anchor Standards map to primary source image analysis skills.

COMMON CORE
READING ANCHOR STANDARDS
IMAGE ANALYSIS SKILLS
1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. Analyze an image closely to determine what it conveys explicitly and to make logical inferences from it; cite specific visual evidence when writing or speaking to support conclusions drawn from the image.
2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. Determine central ideas or themes presented in an image; summarize the key supporting details and ideas.
3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. Analyze how and why individuals, events, and ideas develop and interact in a series of thematically related images.
4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. Interpret selected details, symbols and visual techniques as they are used in an image, including determining technical, connotative, and figurative meanings, and analyze how specific choices about what to include in the frame or leave out of the frame shape meaning or tone.
5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole. Analyze the composition of an image, analyzing and summarizing the significance of key details to one another and to the image as a whole.
6. Assess how point of view or purpose shapes the content and style of a text. Assess how point of view or purpose shapes the content and style of an image.
7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.[1]
8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence. Delineate and evaluate the point of view and bias presented in an image, including the validity of the reasoning as well as the relevance and sufficiency of the evidence.
9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take. Analyze how two or more images address similar themes or topics in order to build knowledge or to compare the approaches the creators take.
10. Read and comprehend complex literary and informational texts independently and proficiently. Analyze and derive meaning from complex documentary and illustrative images independently and proficiently.

[1] This description exactly matches the Common Core Anchor Reading Standard. Anchor reading standards are the same for K-12.

Please feel free to download and distribute the Image Analysis Common Core State Standards Alignment document (but please keep the format, including logos, intact).

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Learning from the Source: Chicago Meatpackers & the Unions


The Chicago meatpacking industry began its rise to prominence in 1865 with the opening of the Union Stock Yard. Meatpacking unions had their ups and downs over the years and company antiunionism took two basic forms: repression and paternalism. Armour, for example, was a company that “provided individualized pay, insurance and promotion incentives (including stock ownership), company-dominated employee representation plans, and family-oriented recreation.” In the 1930s though, thanks to pro-labor New Deal policies, the Amalgamated Meat Cutters and Butcher Workmen of North America, an affiliate of the American Federation of Labor, gained strength in numbers and the Congress of Industrial Organizations, or CIO, launched a new packinghouse union.[1]

The oral histories below were gathered and transcribed by the staff of the Folklore Project of the Federal Writers’ Project for the U.S. Works Progress (later Work Projects) Administration (WPA) from 1936-1940. What more can you learn about the meatpacking industry, the experiences of the workers and their feelings about unions from the oral history excerpts listed below? What were the pros and cons to belonging to a meatpacking union? To help you analyze these oral histories, you might want to consult the previous PSN post–Analyzing Primary Sources: Learning from Oral Histories–which provides guiding questions and a link to an oral history analysis tool.  Click on the underlined names to access the full transcript of each interview from the American Memory collection: American Life Histories: Manuscripts from the Federal Writers’ Project, 1936-1940.

Informant: Anna Novak

Interviewer: Betty Burke

Interview Location: Home of informant

Date of interview: April 25-27 1939

Interviewer description of informant: “Medium blonde, bright blue eyes, big and healthy, absolutely overflowing with life.  Irrepressible and fearless in defense of her union, at work or wherever she goes.  Sociable and just generally a happy kid of person.”

Excerpt 1 (Armour): When the union came they made me steward of the girls in my department. Then they started laying me off, because we were getting somewhere with the union, see, and they thought they’d scare me, so they layed me off a couple of times and broke up my seniority that way. Then after I got through testifying at the National Labor Relations Board they layed me off for good. I used to come up to ‘Old Lady’ McCann, she hires all the women for Armour’s, and I used to ask her why I couldn’t get back. I’d say, ‘Haven’t I always done good work, haven’t I been a steady worker?’ And she’d say, ‘Yes, Anna, you’re a good worker, and an experienced girl, but you see now that your seniority is broken I can’t do anything for you.’ And all the time I’d be sitting there talking to her I’d know she was giving me the horse laugh. That dame got many a shiner from girls for her mean tricks. There was a time when she couldn’t step out of her office without an escort because girls and women she’d laid off would wait for her right outside. I mean hundreds of them. I’m tellin’ you, when McCann would come around and the girls at work got a load of her and her latest shiner, they would feel ten times better all day. It would be a picnic. Everybody has it in for her, because they all know what it’s like to go through her mill. But she’s God Almighty as far as Armour’s is concerned, when it comes to getting work. No woman gets in or out of Armour’s without her say so.

Here’s one thing the union changed while I was in Armour’s. Like the white girls in Armour’s if they work 15 years they have some kind of honor system and they usually get better work. A little easier job, you know. What do you think they give the colored girls who work that long? They give them a black star, pasted on their time cards! They hardly ever get a chance at anything but the dirtiest, wettest jobs, that even the white men can’t stand or just wouldn’t take. And then that star business is such an easy way for the bosses to spot the colored women so that they won’t accidentally give a good job to one, in some emergency. The union is putting the heat on that particular practice. The colored girls come into the union easy, and at union meetings you’d be surprised now they stand up and have their their say. The Polish girls and the [Lithuanians?] they’re the hardest to get in. You know how it is. There’ll be a bunch of Polish and a bunch of Liths working and the foreman will play them against each other and they’ll fall for that stuff. They’ll be so busy calling each other names, lousy Lugans or dumb Polacks, that when the time comes to get together, they can’t, they’re so used to fighting. The big reason though is that they’re ruled by the priests and the priests, lots of them, say, ‘The CIO is against religion and the church!’

Informant: Anna Novak

Interviewer: Betty Burke

Interview Location: Home of Informant

Date of interview: April 25-27

Interviewer description of informant: “Medium blonde, bright blue eyes, big and healthy, absolutely overflowing with life.  Irrepressible and fearless in defense of her union, at work or wherever she goes.  Sociable and just generally a happy kid of person.”

Excerpt 2 (Agar): I’ve been working at Agar’s for eight months now, since Armour’s put me on the blacklist. Our contract expires in July, our union contract and we’re negotiating for another one with them now. I was appointed steward by the union but when we get our contract we’ll elect our stewards by union membership vote. Agar’s isn’t so bad now. Half the plant was organized before I got my job there, but did we have to crawl to get the others in. Now what we want is a good contract, and if they won’t bargain, all we need to do is tie up the [killing?] floor and the order department and Agar’s will close up tighter than a [?] clam. They can’t afford that. And we’ve got the plant with us solid. . . . Another thing, in our department we have two toilets for 100 people, girls. You should see before we got the union, you could scrape the muck off the floor with a knife. We made them put in a new floor and they promised to give us some new lockers, so far there are 30 lockers for 100 girls. Well, we’re on their necks all the time, now. When we want to eat we’ve got to go over by the lockers and they’re right on top of these two stinking toilets. If you knew the smell! And girls have to eat there! I wouldn’t have lunch there if I had to walk four miles for a cup of coffee! You can’t imagine what the combination of toilets and disinfectant and cigarette smoke and sweat and stockyards smells like! When we kick about things like that and we talk about the union we make the boss mad. When he gets good and mad and he knows he can’t stop us from talking, he hollers, ‘Every dog gets his day and when I get mine!’ And we just laugh and say, ‘Oh, the ‘dogs’ have their day now, you had yours 10 years ago, before the union came.’ Does he get sore!

Informant: Jesse Perez

Interviewer: Betty Burke

Interview Location: 4817 Ashland Ave. – Informant’s Home

Date of interview: June 21, 1939, 7:30pm

Description of Informant by Interviewer: “Unusually tall for Mexican-6 feet at least-speaks English not so well, Spanish perfectly. Looks like a Spaniard, Extremely fond of his children.”

The bosses in the yards never treat Mexican worker same as rest. For ‘sample, they been treatin’ me, well, ever since I start wearin’ the button they start to pick an’ ‘scriminates. I was first to wear CIO button.

I start in as laborer. Get 62 1/2 cents hour. I get laid-off slip from fellow who has to leave town, that’s how I get in employment office. Now I work as beef lugger, carryin’t the beef on cuttin’ floor. Work is heavier than laborer, make 72¢ hour.

I can butcher, but they won’t give me job. They fired me on account of CIO union one time. I started organize the boys on the gang. I was acting as steward for CIO union. We had so much speed up and I was advisin’ the boys to cut the speed and so when I start tellin’ the boys we have a union for them they all join up. Almos’ all join right away. So we talk all the time what the union goin’ to do for us, goin’ raise wages, stop speed-up, an’ the bosses watch an’ they know it’s a union [comin'?].

So every day they start sayin’ we behin’ in the work. They start speedin’ up the boys more an’ more every day.

The boys ask me, what you gonna do? Can’t keep on speed-up like this. We made stoppage. Tol’ bosses we workin’ too fast, can’t keep up. The whole gang, thirteen men, they all stop. Bosses come an’ say, we ain’t standin’ for nothin’ like this. So 4 days later they fire the whole gang, except 2. So we took the case in the labor board and they call the boys for witness. Labor board say we got to get jobs back. Boss got to promise to put us back as soon as they can. That time was slack, but now all work who was fired. All got work.

Now the bosses try to provoke strike before CIO get ready, before the men know what to do. Foremen always try to get in argument about work, to make the boys mad so they quit work. We know what they do, we don’t talk back, got to watch out they don’t play trick like that.

Informant: Jim Cole

Interviewer: Betty Burke

Interview Location: not listed

Date of interview: May 18, 1939

Description of Informant by Interviewer: Negro

I’m working in the Beef Kill section.  Butcher on the chain. Been in the place twenty years, I believe. You got to have a certain amount of skill to do the job I’m doing.

Long ago, I wanted to join the AFL union, the Amalgamated Butchers and Meat Cutters, they called it and wouldn’t take me. Wouldn’t let me in the union. Never said it to my face, but reason of it was plain. Negro. That’s it. Just didn’t want a Negro man to have what he should. That’s wrong. You know that’s wrong.

Long about 1937 the CIO come. Well, I tell you, we Negroes was glad to see it come. Well, you know, sometimes the bosses, or either the company stooges try to keep the white boys from joining the union. They say, ‘you don’t want to belong to a black man’s organization. That’s all the CIO is.’ Don’t fool nobody, but they got to lie, spread lyin’ words around.

There’s a many different people, talkin’ different speech, can’t understand English very well, we have to have us union interpreters for lots of our members, but that don’t make no mind, they all friends in the union, even if they can’t say nothin’ except ‘Brother’, an’ shake hands.

Well, my own local, we elected our officers and it’s the same all over. We try to get every people represented. President of the local, he’s Negro. First V. President, he’s Polish. Second V. Presdient, he’s Irish. Other officers, Scotchman, Lithuanian, Negro, German.

Well, I mean the people in the yards waited a [long?] while for the CIO. When they began organizing in the Steel towns, you know, and out in South Chicago, everybody wanted to know when the CIO was coming out to the yards. Twelve, fourteen men started it, meeting in back of a saloon on Ashland, [talking?] over what to do, first part of 1937. Some of my friends are charter members, well I got in too late for that.

Union asked for 15 extra men on the killing floor, on the chain. Company had enough work for them, just tried to make us carry the load. After we had a stoppage, our union stewards went up to the offices of the company and talked turkey. We got the extra help.

I don’t care if the union don’t do another lick of work raisin’ our pay, or settling grievances about anything, I’ll always believe they done the greatest thing in the world gettin’ everybody who works in the yards together, and [breakin'?] up the hate and bad feelings that used to be held against the Negro. We all doing our work now, nothing but good to say about the CIO.

Informant: Elmer Thomas

Interviewer: Betty Burke

Interview Location: 5413 Calumet Ave. Home of Informant

Date of interview: May 10, 1939, 6:30pm

Description of Informant by Interviewer: “Very clean and neat, dresses rather expensively for wkr. Well built 6 footer, dark brown skinned, quietly intelligent, plain speaking. Likes to discuss problems and solutions to his race’s problems. Very race conscious. Thinks his people ought to concentrate more on business administration courses in their education, rather than the more specialized professions of lawyer, doctor, or any of the ‘arts’.”

Time ah went to the yards they put me on as a laborer on the Killing floor. That was in Beef Kill but they soon had me transferred to Sheep Kill. Ah used to try handling a knife, try to do some of the butcher jobs, you know, when the foreman wasn’t around. Well, that’s a trade and ah wanted to learn it so ah’d have a better chance to keep a job there. Time ah started there was lots of Negro workers there, you know, had been in the yards since they were brought from the South to help break the big strike, well, they’d let me pick up the trade, helping them on the job. Foreman, he come over once and see ah knew how to handle a knife so ah got a butchering job as soon as there was call for that. What ah do is cut off sheep’s head after it’s been dressed. Ah been doing that particular job more than 12 years now. Ah Know fellows, told me when they started in the yards, and tried to learn to butcher, white men on the floor didn’t like to see it. They’d do almost anything to keep them from learning, throw anything they could lay hands on at them, knives, sheep fat cups, punches, (that’s tools we work with) anything. The white butchers, they hated the Negros because they figured they would scab on them when trouble came and then get good paying, skilled jobs besides. Well, that was a long time back, with the CIO in, all that’s like a bad dream gone. Oh, we still have a hard now but this time the white men are with us and we’re with them.

Informant: Elmer Thomas

Interviewer: Betty Burke

Interview Location: 5413 Calumet Ave. Home of Informant

Date of interview: May 10, 1939, 6:30pm

Description of Informant by Interviewer: “Very clean and neat, dresses rather expensively for wkr. Well built 6 footer, dark brown skinned, quietly intelligent, plain speaking. Likes to discuss problems and solutions to his race’s problems. Very race conscious. Thinks his people ought to concentrate more on business administration courses in their education, rather than the more specialized professions of lawyer, doctor, or any of the ‘arts’.”

Excerpt 2 -They have a ‘credit union’ in Armour’s, keeps a lot of people out of the CIO. If you want a loan from them you have to have a ‘good’ record. Well, some fellow, colored fellow, he tried to get a loan. They knew he was a Union man, so they made it hard for him. Told him to get some worker with a bank account in the credit union to vouch for him. Fellow went and got Charlie. Charlie’d been in the yards a long time and he happened to have some money there. He walked into the office and signed them papers, and them in charge of the loans with their eyes popping like a fish’ out of water. Manager asked Charlie to step into his private office, he was so upset. He said to him, ‘You really mean you want to sign for that man, and he a colored man! I hate to think of a white man would want to take on that responsibility.’ Charlie, he’s Irish, and he looked at this manager and grinned. He said, ‘Well, sure now, I do appreciate that bit of advice, seein’ you ain’t chargin’ nuthin’ for it. But that black boy’s my friend. He works with me. He’s a union brother and I guess maybe you’re surprised to hear that I’m with the union, too! So just save that advice of yours for somebody don’t know no better.’ Walked out of there and slammed the door. You think that colored fellow didn’t get his loan? He got it. Manager couldn’t do a thing. He really spoke his piece out of turn that time. Got a union man mad, that time, and got himself told.

Informant: Gertrude D.

Interviewer: Betty Burke

Interview Location: 101 S. Ashland, West Side YWCA

Date of interview: May 15, 1939, 6:30pm

Description of Informant by Interviewer: “Pretty, strong, and stubborn. Well liked by the girls. Lots of pep and always wanting to be engaging in physical activity.”

I’ve worked in Reliable Packing CO. for the last 6 years, mostly in Sliced Bacon. I just wrap up the bacon as it comes out of the slicing machine, in those cellophane wrappers, and stack them. I have lots of fun at work, we kid around with the guys all the time. Sometimes we fry bacon on a little electric plate that we plug up to one of the machines. A bunch of us always eat together. We even make coffee. It’s against rules to cook anything, really. You’re supposed to use the cafeteria. But the boss don’t care, he comes around lunch time and we make him eat with us. He likes our gang. Some of the old Polish women get sore as heck because he treats us better than them. They don’t like to see young girls and fellows have a good time, but we don’t do anything. We just monkey around a little bit, that’s all. They’re just jealous ’cause they can’t.

I get paid by the hour. It’s pretty nice where I work. It gets cold, but I don’t mind. I got two weeks vacation with pay this winter, I took another week off without pay, the boss let me off, and I went to Florida. Did I have fun! I was flat broke when I came back.

We have a union in our place. It’s the Employees Mutual Benefit Association. We have dances and socials, [bunco?] parties, things like that. We have our Grievance committee, all that. Of course, the CIO had to come butting in where they weren’t wanted and lots of people joined but my gang didn’t and I’m glad. I’m satisfied with my job and I got no kick with the company. Why should I worry about somebody else’s troubles on the job? I pay my dues to the Employees Association and always will. They’re just jealous of anybody with a good job, and they join the CIO and try to get the company to give them all the easy work. Same of them in the CIO union won’t even talk to us anymore, can you imagine that! We get along at work better than any of them, so we don’t pay any attention to them.

Informant: Pat Christie

Interviewer: Betty Burke

Interview Location: Packing House, Union Headquarters Sikora Hall, 4750 S. Hermitage

Date of interview: June 14, 1939

Description of Informant by Interviewer: Irish American – 25 yrs.

First I was in pickled pigs feet, where they pack and prepare only pigs feet. I’d have to bone them, wash them, wash the jars the stuff came in, and set them up on a table. I’d handle five jars in one hand, a finger holding each one. Quart jars they were, and the girls on that job would rush past each other with ten quarts of glassware stuck on the ends of their fingers, looking like a Buck Rogers creation.

You know how the tops of glass jars are, sharp and jagged edges, and we’d cut ourselves all the time. Then besides that, after that we had to take these jars, filled with pigs feet over to the vinegar table where we put in the vinegar solution. And when that vinegar juice slops onto the cuts between a girl’s fingers, wowie! That really hurts!

We had to argue and talk and fight before they furnished us with rubber gloves on that job. And then they only furnish two pairs a week and the girls have to buy at least five pairs because they wear out a couple pairs a day when there’s a lot of work.

I got a skin rash working in that vinegar. It splashes in your face and your eyes no matter how careful you are. I got big red blotches all over my face and neck and arms from it. It took me six months to get rid of it and I had to quit that job. They usually put the colored girls on that vinegar job. Me and another girl used to [do?] a lot of talking and they knew we were in the CIO union so they stuck us on that job to get on our nerves and maybe make us quit. Well, it worked, but not until all the girls had union cards, so much good that one was. All the colored girls, they jump at the chance to be in the union as soon an they’re asked. It’s different with some of them. The Polish girls, some of them they’ll say, “Ah, let my husband join. Let my husband go to meetings. Let the men do it, it’s not for women to do.’ But once they get interested, boy, oh boy, they’ll get up and talk their hearts out and they’ll fight like troopers for the union. Once they really get the idea and the feel of the union, you can’t hold then down. Some of the most religious Polish women in the union are the most surprising. They really go to town when they get started with the Union.

And the Mexican women, they’re all fighters. They know their rights and they fight for all they can get, every time. A boss can’t say boo to them, they’ll come right book at him. You know sometimes the foremen try to push them around, and call them Negroes. There’s nothing makes them so angry and they won’t let anybody get away with that, if he’s the super himself. They’re very proud of being Mexican.

Informant: Stanley Kulenski

Interviewer: Betty Burke

Interview Location: Packing House, Union Headquarters Sikora Hall, 4750 S. Hermitage

Date of interview: June 3, 1939

Description of Informant by Interviewer: Polish 28 yrs.

What do I do at Armour’s? I’m a tractor man, miss. I run one of them tractors that haul out the finished products packed and ready for the freights and trucks. They used to have one man doin’ the checkin’ and drivin’ a tractor on one job. That’s what they had me doin’ a couple of years. Run me ragged. Now they got regular checkers on steady.

I ain’t got a steady job, see. I been working there longer than some of the guys they put on steady checking, guys that used to be tractor men alongside o’me. The company knew I was a union man so I wasn’t in on it when same of these other guys got promoted to checkers. I didn’t put up a squawk, see, because I didn’t want to be a checker at the time. I didn’t want the job anyway, for the reason, driving a tractor, they don’t expect so much from you, the job has less responsibility attached to it. If you’re a checker it’s easier for them to get something on you. They’re out to get a union guy any time, Armour’s is, and the way they do it is, a checker can only do so much work and then he’s bound to make mistakes because he won’t be able to handle the volume of orders and all, it’ll be comin’ in so fast. So they’ll keep swampin’ him with work until they pin enough mistakes on him to can him. I figure to keep on this job at Armour’s so I aint kickin’ just now. I got a job to do for a while yet. And wait’ll they find out I aint the only guy in the union. All them checkers are union guys. Will they burn! Most of the tractor men are union, too. It won’t be long till we get our contract out of Armour’s. That’s what we’re counting on when Lewis hits town.


[1] Information gathered from the Encyclopedia of Chicago entries on “Meatpacking” (http://encyclopedia.chicagohistory.org/pages/804.html) and “Antiunionism” (http://encyclopedia.chicagohistory.org/pages/55.html). Accessed 03/07/12.