Whistle-blowers

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Must include research from at least 4 scholarly sources–I have provided 3 articles (which you can use or
not use so that you have a place to start) and you must find 2 on your own. You will find the 3 pdfs
published on canvas.
Take a position on whistle-blowers (patriots or traitors or something in between) and the current and
historical reaction from governments on whistle-blowers. You may want to limit your research to focus on
one particular whistle-blower.
Whistleblowers are people who expose wrongdoing in government and business. They may investigate
issues or practices as outsiders or operate from within organizations or industries as employees.
Whistleblowers who approach their subject from the outside include journalists such as Upton Sinclair. In
the early twentieth century, he wrote a novel, The Jungle, which exposed some of the filthy conditions and
practices of the meatpacking industry. Scientist, activist, and author Rachel Carson wrote a book in the
1960s, Silent Spring, about the dangerous side effects of the pesticide DDT. Such writers are often called
muckrakers since they figuratively dive into the mud and reveal the dirty side of established business
practices.
Other whistleblowers are insiders who work for a government agency or a corporation and have access to
its secrets. They may be horrified by what they see and feel compelled to speak out to a journalist, an
investigative agency, or even Congress.
While whistleblowers may be treated as heroes, many are uncomfortable with revealing the truth. They may
respect their employers and want them to succeed, but feel that the business or government is actually
hurting itself by breaking some law or engaging in unethical behavior. Many whistleblowers are considered
renegades or even traitors, and they may suffer both legally and in terms of their reputations.
ALL QUOTATION OR PARAPHRASE should be cited in-paper (put the author’s name or other source
identifier directly in your paper). Failure to give credit to the author is plagiarism and will result in a zero for
the assignment

Sample Solution

troduced as he enters through an unlocked door in the Helmer’s household “Now the door is pushed ajar, and Krogstad appears.” (130). Like Sandip, Krogstad’s arrival is sudden and unforeseen. By focusing on the unlocked door, it is clear to see that the bourgeoise household is defenceless in keeping intruders out. It is a facade of security that is easily compromised. Furthermore, Krogstad’s silent observation of Nora’s game with her children “what shall we play? Hide and seek?” (129) provides an unsettling sense of voyeurism as he intrudes on an emphatically private moment. This casts Nora’s household from its preconceived notions of seclusion and exposes it to be scrutinized by the outside world. Nicholas Grene extends this line of thought by stating that “the revolutionary innovation of Ibsen’s A Doll’s House was to turn that scene of the glass-walled conservatory the other way around, to put the audience of the play in the position of the townspeople, gazing in at the middle-class marital home.” (16). Grene’s point is a significant one as it illuminates the importance of staging in corroding the distinct lines between the interior and exterior world. The set of the bourgeoise household may be constructed to appear superficially private but it is, in fact, a stage. This means that it is designed for the sole purpose of being gazed upon and dissected. In this sense, there is a definitive and noticeable breach between the domestic household and the external world as the audience observes the bourgeoise home. This, Branislav Jakovljevic posits, means that “the reality of the stage is always measured against the truth of the outside world.” (432). In other words, the facade of the ideal household is exposed by means of the audience witnessing its gradual undoing. But the inhabitants of outside world are not embodied solely by the audience. Instead, they can also be seen in Krogstad’s letter which is an artefact of the outside world. The letter is inimitable proof of Nora’s fraud, which makes it a distinctly financial object. This links closely to ideas of capitalism and financial security that are already deeply rooted in the household. Similar to Krogstad’s first appearance, the letter arrives through the front door and sits, out of reach, in the letterbox “There it is. – Torvald, Torvald – we’re beyond rescue now!” (159). Nora’s inability to access the letter is indicative the fact that her household is longer a private space. It is open to the influences of the outside world and cannot be shielded from them. As a result, Nora is forced to face the reality of her deception, knowing that resistance is futile. The futility of Nora’s predicament is significant as it points towards the irrevocable change that the household has undergone. It is utterly compromised by the pressures of debt and capital and, despite Nora’s best efforts, it cannot be concealed. In this sense, the contamination of the household by outside forces is an inevitable process of change that cannot be placated.

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