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Literature 5535: “American Romanticism”
University of Houston-Clear Lake, summer 2002 (session 3, 1st
5-wks) Class
Meeting: MTTh 3-5:59pm; Bayou 1228 Instructor: Craig White Office/phone: Bayou 2529-8; 281 283-3380 Office Hours: noon-1pm, 6-6:30pm MTTh & by appointment Caveat: All items on this syllabus are subject to change with minimal notification. Course Text: Baym,
Nina, et al, eds.
The
Norton Anthology of American Literature.
5th Shorter Edition. NY: W. W. Norton, 1999. Grades and Assignments: Percentages are only approximate, indicating relative weight in considering final grades, which are not computed mathematically but decided subjectively by comparing the quality of a student's thought and writing with that of classmates and with wider academic standards. · Presentations, responses, & webpage summaries (10%) · Take-Home Midterm (due via email between 13-14 June; 20%) · Research Journal (due via email either 3 or 5 July; 35%) · Take-Home Final Exam (due via email either 3 or 5 July; 35%) Issues
such as attendance, preparation, and quality of class participation may also
influence grades beyond the percentages indicated. Course
Objectives: Objective 1: Literary Categories of Romanticism Objective
1a: Romantic Genres To describe & evaluate standard literary genres of Romanticism: ·
the romance narrative or novel
(quest or journey toward transcendence) ·
the gothic novel or style
(haunted physical and mental spaces, the shadow of death, dark and light in
physical and moral terms; film noir) · the lyric poem (a moment or impression of complete cognition and feeling; more prominent in European than American Romanticism) Objective
1b. Romantic Spirit or
Ideology · To identify and criticize attitudes traditionally associated with Romanticism, such as idealism, rebellion, the individual in nature or separate from the masses, desire and loss, nostalgia, and "the sublime." · Broadly, the Romantic impulse is usually for anything besides “the here and now” (or “reality”); consequently, the quest or journey of the romance narrative typically requires crossing borders or transgressing boundaries, whether physical, social, or psychological. · A Romantic hero or heroine may appear empty or innocent of all but potential or desire (on the subject’s or observer’s behalf) and a willingness to self-invent or transform. Objective
1c. The Romantic Period · To note the concentration of Romanticism in the late 18th through mid-19th centuries and the co-emergence of Romanticism with the rise of the middle class, the city, industrial capitalism, and the nation-state. · To observe predictive elements in “pre-Romantic” writings from earlier periods such as “The Seventeenth Century” and the "Age of Reason." · To speculate on residual elements in “post-Romantic” writings from later periods such as “Realism and Local Color,” "Modernism," and “Postmodernism.” Objective 2: Cultural Issues: America as Romanticism, and vice versa · To identify the Romantic era in the United States of America as the “American Renaissance”—roughly the generation before the Civil War (c. 1830-1860), and one generation after the Romantic era in Europe. · To acknowledge the co-emergence and shared identity of "America" and "Romanticism." European Romanticism begins near the time of the American Revolution, and Romanticism and American culture develop individualism, nature, rebellion, equality, and desire-and-loss in parallel. · America as a racially divided but complexly related people develops "Old and New Canons" of Romantic literature, from Emerson’s Transcendentalism and Fitzgerald’s Jazz Age to the Slave Narratives of Douglass and Jacobs, the Harlem Renaissance of Hughes, Hurston, and Cullen, and the American Indian as a conflicted Romantic icon in Cooper and Zitkala-Sa. (Mexican American Literature is not yet incorporated into this course.) · Similarly, the USA's conflicted identity as an economically liberal but culturally conservative nation creates "Old and New Canons" in terms of gender, in which masculine traditions of freedom and the frontier content with feminine traditions of relations and domesticity. (Also consider “Classical” and “Popular” literature as gendered divisions.) · More metaphysically, American Romanticism provides opportunities to explore competing or complementary dimensions of the American identity, particularly whether America is a cultural base for sensory and material gratification or moral and spiritual mission. · Finally, the convergence of "America" and "Romanticism" enables us to investigate to what degree American popular culture and ideology—from Hollywood movies to human rights—represent a popular, vulgar, or diluted form of classical Romanticism. Attitudes
toward assignments in a 5-week session Concerning grade standards, the rushed nature of a 5-weeks course will be taken into account. “Brilliance” and “potential” in the midterm, research project, and final exam may count more than “systematic rigor” and “finish” (though these latter qualities retain their value). Some mistakes that more time would correct will be overlooked. If a student has fulfilled the terms of the course with reasonable seriousness and promise of achievement, a “continuing grade” (B or better) should be possible. If, however, problems appear more chronic than special to this situation, a less encouraging grade is possible. General
Method of Evaluation and Warning about Standards: Because literature studies qualitative values, this course directs students to think in broadly constructive ways. Percentages are only approximate, indicating relative weight in considering final grades, which are not computed mathematically but decided subjectively by comparing the quality of a student's thought and writing with that of classmates and with wider academic standards. Only letter grades will be given, and pluses and minuses may appear on component and final grades. The relative weights indicated may change to significant degrees, positively or negatively, depending on issues such as attendance and quality of participation in class. If a student repeatedly demonstrates lack of preparation for class, as by failing to track discussions, this may detract considerably from a student’s final grade. As in most literature and humanities courses, quality of writing on exams and papers is the most decisive factor in grading. In reading and grading your writing, I cannot separate your ideas from their expression; that is, the quality of your thought is apparent only in the quality of the writing. Grades and criticisms will often concern the style, rhetoric, and organization of your writing as much as its content. This can be intellectually liberating for you, since I read your writing less for "the right answer" than for intelligent deliberation. Presentation(s) are graded “silently”—that is, no grade is communicated during the semester. However, your presentation grade will be figured in your overall final grade and listed in your Final Grade Report. Judgment of your presentation will be based on the interest of your analysis, the quality of your reading, and the level of discussion. Email and webpage requirements With help from UHCL’s Instructional Technology Center, a webpage was established for this course in fall 2000. Students in LITR 5535 2002 are expected to contribute to the continued development of this webpage. The web address is http://www.uhcl.edu/itc/course/LITR/5535/homepage.htm. If convenient, install it as a “favorite” for easy access. Purposes for this webpage’s development include the following: · To provide models of completed assignments for students who are unfamiliar with such a course’s expectations and standards. · To provide a medium in which students can share their work with each other. · To record the course’s accomplishments and thus to increase the likelihood that future courses may advance them. · To prepare for a possible online future for the course. Each student in LITR 5535 2002 must make five contributions to the webpage through the instructor via email or other electronic media. Your contributions will be indexed by your name or initials. When the course concludes, students may request via email that any or all of their contributions be removed from the webpage. In the future, some student contributions may be deleted as more samples are gathered. All webpage contributions are posted as submitted. That
is, the instructor does not edit them, nor do the instructor’s grades and
comments appear on the webpage. However, students are welcome to resubmit
revised or edited versions of their assignments at any time during or after the
semester. Required email contributions: 1. presentation summaries, including summary of discussion & response 2. midterm exam 3. research proposals 4. research journal 5. final exam Email address: Send all emails to whitec@uhcl.edu. Note the "c" at the end of "whitec." If you send the email to "white" only, it goes to the wrong faculty member. Contents and attachments: Try both of the following · Paste the contents of the appropriate word processing file directly into the email message. · “Attach” your word processing file to an email message. (My computer and most of its programs work off of Microsoft Word 2000. The only word processing program my computer appears unable to translate is Microsoft Works, though Microsoft Word is fine, as are most others. If in doubt, save your word processing file in "Rich Text Format" or a “text only” format.) If you cannot reach me by email, save your file to a 3 & ½ “ floppy disk and give it to me. If you put your name on the disk, I’ll eventually return it to you. Student computer access: Every enrolled student at UHCL is assigned an email account on the university server. For information about receiving your account name and password, call the university help desk at 281 283 2828. Reassurances: You are not graded on your expertise in electronic media but on your intelligence in reading discussing, and writing about literature. I’ve tried similar email exercises for several semesters; a few students encounter a few problems, but, if we don’t give up, these problems always work out. Your course grade will not suffer for mistakes with email and related issues as long as I see you making a fair effort. Descriptions
of Assignments: Take-home Midterm Exam (due13-14 June): Length: 5-7 typed double-spaced pages. Transmission: You must email your exam to me at whitec@uhcl.edu. Your submission may be excerpted for the webpage. If you submit a hard copy, parts may be highlighted for electronic submission. Topic: An aspect of one of the course objectives. Describe how three early American texts (from Columbus, Smith, Bradstreet, Rowlandson, Jefferson, Rowson, Irving, Poe, Hawthorne, Edwards, Emerson, and Fuller) exemplify the development of an aspect of Romanticism. The above paragraph is the formal description of the mid-term assignment—that is, you will not be given another sheet describing the assignment, though of course we can discuss it. The most successful versions of this exam tend to focus on a rather specific aspect of Objective 2, such as “the Gothic.” You may even focus more specifically than the objective indicates—that is, you may analyze an aspect of the gothic or a specific feature of the romance or of Romantic spirit, for instance. You are encouraged to review the examples of midterm exams on the course webpage from LITR 5535 2000. The only difference in their assignment was a requirement to discuss Cooper’s The Last of the Mohicans, which we are not reading. You are welcome to cite ideas from these midterms. You are also welcome to cite external sources, though this assignment does not have a research requirement. It is expected that you will incorporate major ideas from class lecture and discussion, and that a member of this class could recognize your ideas and references as relevant to our course as it has developed thus far. Research Proposal: Due via email by 13-14 June (or before). You may include this research proposal with your midterm email or email it separately to whitec@uhcl.edu. The Research Journal itself is described below. For your Research Proposal, write at least three sentences including the following information: · Identify the topic you want to develop for your essay. · Explain the source of your interest, why the topic is significant, and what you want to learn about this topic. · Mention the likely types of research you will do, e. g., Background research (encyclopedias, handbooks, critical digests, etc.), Secondary research (advanced scholarly articles or books exploring a particular question, or reviews of scholarly books) · Research report proposals will be posted on the webpage. · Feel free to confer with me in person, by phone, or by email about your possible topic before submitting a proposal. Research
Journal: Purpose: Students will extend their range of knowledge or familiarity with American Romanticism, its authors, and / or its constituent styles or genres. In brief, the journal might answer the question, "What do I want to know about this field of study, and in what types of sources or references do I find this knowledge most accessible?" Length: Approximately 7-10 pages. Content: Specific suggestions are given below, but overall the journal should demonstrate that you have, however briefly or tentatively, initiated research in one or more areas of American Romanticism. Quality: Though time pressures will be considered, you should be careful not to let the label of "journal" make you lazy. All your writings should be readable and interesting, and none should look like first drafts. Coherence: A journal provides opportunities for variety in learning, but students should look for opportunities to organize their diverse sources into larger themes according to the purposes of the assignment. The final grade will be determined largely on the “whole reading experience” of your journal for the instructor, who is reading your journal not as a reference work but from beginning to end. Therefore you need to emphasize continuity or transitions between parts, sharing a larger insight or convergence of knowledge with your reader. The introduction and conclusion provide the primary foci at which you should generalize on your learning, but connections, comparisons, and contrasts between the parts of your journal are also expected. Due: by email, by either Wednesday, 3 July, or Friday, 5 July, depending on which of these days you turn in the final exam. Nature of research: Given the course's time constraints, much if not most research may be "background"--i. e., encyclopedias, handbooks, other reference works, web sites. Possible
Topics: Elements from the course objectives should be your first consideration: Literary or stylistic subjects: romance, gothic, sublime, Romantic lyric poetry, Romantic nature Historical or cultural subjects: When was Romanticism? Abolition, Romantic feminism, slave narratives, the Harlem Renaissance Author studies: If you go this route, try to have a particular focus or sub-topic of interest rather than an “all-about” approach. Research Journal--suggested contents: (page suggestions are for double-spaced print) (Aside from the introduction and conclusion, all the numbers and items below are variable according to your interests and findings.) · Introduction (required): rationale: what you wanted to learn and how; preview contents, general themes, choices (1-1 & 1/2 pages) Optional elements: · Overview of subject digested from several background sources. (2-5 pages) · Review of two student papers from previous course on webpage. (2-3 paragraphs each) · 1-3 reviews of a scholarly book or books on your subject (2-3 paragraphs each) · Review of 2-3 websites (1-2 paragraphs on each site?) · You may suggest other possible items for inclusion in your journal. · Conclusion (required): In terms either of variety, priority, or unity, what have you learned from the gathering of your journal? Where might this knowledge take your studies or your teaching? What new issues have been introduced that you might like to study next? (2-3 pages) Final exam Due: by email, by either Wednesday, 3 July, or Friday, 5 July, depending on which of these days you turn in the final exam. Content: two hour-plus essays from a choice of four questions. The content will concentrate on materials since the midterm, but some of the question options will allow you to include texts from before the midterm. Open-book,
open-notebook. Format: You will be emailed the exam questions before midnight on 2 July. The questions will also be posted to the course webpage. You are expected to spend no more than three hours on the exam, so please keep a log indicating when you stop and start. (Flexible time takes into account the possible interruptions when working out-of-class.) Class Presentations & responses Each student will lead one or more “readings” and act as a "recorder" for one or more of these readings during the semester. Student presenters will compose summaries of these presentations and email them to the instructor, who will post them to the course webpage. These presentations will take one of two forms and, in either form, should run approximately five to ten minutes. Assignments will be determined in advance by random drawings, though you may indicate if you prefer reading or responding at a certain point in the schedule, or if a certain date is undesirable. The purposes of these presentations are to develop the class’s seminar style and to give students practice in high-level presentations. The purpose is not to relieve the professor of his assigned work; the easiest class is one in which I just show up and talk for three hours. “Silent
Grade” for presentation, responses, etc. You are graded for the quality of your work in presentations, responses, and general class participation, but this grade is not announced until the end of the semester, when it is recorded in your “Final Grade Report” (see below). The reason for this “silent grade” is to avoid unproductive behavior from students in relation to the presentations, such as second-guessing, comparing grades, competing to each other’s detriment, or performing to the teacher. Altogether the presentations are a cooperative exercise on the part of the class, so it’s better to keep grading out of sight; however, since some students would work less otherwise, the leverage of a grade is necessary. Your roles as recorders are not a major feature of your grade unless you simply shirk and draw attention to yourself for lack of cooperation or effort. You are expected to help your presenter in the same spirit that you would like to be helped. Presentation Option: “selection reader”: Choose a brief passage from the assigned readings and interpret it in light of the course objectives, though other interpretations are also welcome. Call me or my voice mail (281 283 3380) or email me (whitec@uhcl.edu) by 1pm the day of the class meeting to inform me which pages and points you will feature (so that I can avoid overlapping and otherwise arrange the class agenda in response to your content). Procedures for student selection reading: 1. Call or email the instructor by 1pm on the day of the class meeting to tell what pages of the text will be read, what objective is under consideration, and what question you will ask. Messages can be left on my voice-mail (281 283-3380) or email whitec@uhcl.edu. 2. Limit five to ten minutes, except for continuing discussion. 3. Your presentation should prominently feature an overall point relating to a course objective (or to another point the course has developed). Announce this point (or objective) in your introductory remarks and reinforce it in your closing remarks. 4. After or before introducing your presentation, announce the page(s) to which the class should turn and locate the passage. You may read 2-3 short passages instead of one long passage. 5. After reading the passage, emphasize the aspects relating to your objective or point and offer any further relevant remarks. 6. To conclude your formal presentation and initiate the class discussion, ask a question regarding the passage and point. 7. Recorder takes notes of discussion. 8. Email instructor summary of presentation & discussion. For posting to the webpage, the presenter emails to the instructor a 2-3 paragraph summary of the presentation plus 2-3 paragraphs reviewing the highlights of the discussion, prepared with the help of the recorder. The presenter is welcome to consult with the recorder and with other discussion participants as much as is helpful in preparing the summary. Main mistake or misconception to avoid: This may be your big moment leading the class, but you must avoid the temptation to use it as a do-or-die opportunity to deliver a lecture or demonstrate your mastery of the course’s subject matter. Your purpose is above all to start and lead a discussion. As a veteran teacher, I can swear that you never finish saying all you could say, and no one ever wishes that you could! Having instructed this course several times, I’ve consistently found that in the best presentations the presenter speaks well but briefly, rarely more than 2-3 minutes at a time, and interspersing insights into the comments before and after the reading and into the discussion. Recorder: An assigned student will take notes of the discussion, writing down as much as possible of what students say and connecting it, if possible, to names. (Instructor will help with names.) The note taker will share these with the reader and consult as far as desirable in helping with the email / webpage summary (see below). The reader and note taker may share and consult in person, by phone, or by email. Email / webpage summary: Within 48 hours after class, the presenter should submit a prose summary of the presentation and discussion (including respondent's contribution) to the instructor via email. Identify respondent by name, and other attributions of comments are welcome. This submission will subsequently be posted to the course webpage. Presentation Option: “Poetry Reading” The student reads a short, contemporary poem from the Norton Anthology, then interprets the poem’s romantic (or non-romantic) qualities and invites comments from other students. Good poems give rise to many potential insights, but the overriding purpose of this presentation is to relate the poem to the course content of American Romanticism. Therefore the reader’s introduction and interpretation to the poem should emphasize how the content and/or style of the poem conforms to or resists a Romantic interpretation. Discussion may inevitably raise issues apart from Romanticism, but it is the presenter’s duty to return the discussion and summary to Romantic themes. Procedures for student presentation, option 2 (poetry): 1. Announce author, title, and location of poem in anthology. 2. Limit reading and analysis to five to ten minutes (some may come before reading, some after reading), except for continuing discussion. 3. To introduce the poem, suggest objectives relevantto which it relates; otherwise, read the poem as soon as possible. 4. Limit any biographical information on poet to material directly relevant to subject of American Romanticism. By no means should you simply review the life of the poet. Rather, touch on a couple of relevant highlights or ignore this aspect altogether, and get to the poem as directly as possible. 5. Read aloud the poem or passages from the poem. You should look up and practice pronunciations of any unusual or foreign words before you read aloud. It’s not good form to interrupt the poem and ask the instructor if you’re pronouncing a word correctly—ask before class! 6. After reading the poem, review its Romantic elements or patterns and also the aspects that negate or resist Romanticism. 7. Conclude with a question about the poem to invite discussion. 8. If the poem was presented in an earlier semester, the presenter should review at least one insight from the presentation or discussion at some point in the introduction, analysis, discussion, or conclusion, 9. Recorder takes notes of discussion. 10. Email instructor summary of presentation & discussion. For posting to the webpage, the presenter emails to the instructor a 2-3 paragraph summary of the presentation plus 2-3 paragraphs reviewing the highlights of the discussion, prepared with the help of the recorder. The presenter is welcome to consult with the recorder and with other discussion participants as much as is helpful in preparing the summary. Email / webpage summary: Within 48 hours after class, the presenter should submit a prose summary of the presentation and discussion to the instructor via email. This submission will subsequently be posted to the course webpage. Models of poetry presentation summaries: Click on the “Model Assignments” tab on the course webpage or go directly to Main mistake or misconception to avoid: This may be your big moment leading the class, but you must avoid the temptation to use it as a do-or-die opportunity to deliver a lecture or demonstrate your mastery of the poem or of the course’s larger subject matter. Your purpose is above all to start and lead a discussion. As a veteran teacher, I can swear that you never finish saying all you could say, and no one ever wishes that you could! Having instructed this course several times, I’ve consistently found that in the best presentations the presenter speaks well but briefly, rarely more than 2-3 minutes at a time, and interspersing insights into the comments before and after the reading and into the discussion. Final Grade Report I will turn in final grades to the registrar during the week following your exam according to the usual procedures. Students may check their final grades by calling the university’s EASE line. Additionally, however, I will email each student a final grade report or tally. Though this message should be accurate, it will be “unofficial” in that none of its information is recorded or supported by the university registrar. The message will appear thus: LITR 5535: American Romanticism 2002 STUDENT NAME Absences: Presentation grade: Midterm grade: Essay grade: Final exam grade: Course grade: Class participation: Students’ participation is judged less on quantity than on appropriateness to the topic under discussion and the point being pursued. When you are called upon to speak, you should try to make one point per turn. Avoid having a list of remarks on several topics—that tends to confuse your instructor’s or your classmates’ response. Choose the most important thing to say at the given moment. If occasionally I don’t follow up your individual comments, this does not represent a negative reaction. I used to try to follow up every student’s comment, but it became clear to me that the class had trouble discerning when I really had something to say from when I was simply talking out of politeness! I now think that, unless I have something potentially valuable to add, it may be better to let a student’s comment “speak for itself” rather than forcing further comment when none may be necessary. COURSE POLICIES Attendance: You are expected to attend every scheduled class meeting. Attendance is not taken systematically, but, if you miss more than one meeting, you start discrediting your status in the course. If you keep cutting or missing, you should drop the course. If shockingly absent, return and make contact (281 283-3380) ASAP in normal office hours or leave message. Catch up fast! If you miss more than two classes (especially early!), consider dropping, unless prior arrangements are made. More than one absence affects final grades, sometimes severely. You are always welcome to discuss your standing in the course. Academic Honesty Policy: Please refer to the catalog for the Academic Honesty Policy. Plagiarism, that is, using research without citations, will result in a grade penalty or failure of the course. (2001-2002 Catalog, pp. 74-77). Plagiarism—that is, using research without citations—will result in a grade penalty or failure of the course. Copying someone else's test leads to heavy losses of credit for the test and the course in general. Refer to the UHCL catalogue for further details regarding expectations and potential penalties. Our use of email testing procedures complicates the traditional applications of such rules, so we may discuss these issues further, make pledges, etc. Disabilities: If you have a disability and need a special accommodation, consult first with the Health Center and then discuss the accommodation with me. Incompletes: A grade of “I” is given only in cases of documented emergency late in the semester. An Incomplete Grade Contract must be completed. Make-up exam policy: Ask way in advance for times before the regular exam. Professor has the right to refuse accommodations requested on short notice. Schedule of readings, Summer 2002 (Session 3, 1st 5-weeks): This schedule is subject to change with minimal notice. Monday, 3 June: Introduction; begin viewing Out of the Past (film noir, gothic, romance). Tuesday, 4 June: Columbus, N 11-15. John Smith, N 37-48. Anne Bradstreet N 127-28; 140-147. Mary Rowlandson, N 147-164. selection reader: recorder: poetry: Anne Bradstreet, “To my Dear and Loving Husband,” N 141. poetry reader: recorder: Thursday, 6 June: Thomas Jefferson, N 322-342. Susanna Rowson, from Charlotte: A Tale of Truth N 370-407. Washington Irving, "Rip Van Winkle" N 426-440 Handout: "The Legend of Sleepy Hollow." James Fenimore Cooper, N 440-449. selection reader: recorder: poetry: James Wright, "A Blessing," N 2718 poetry reader: recorder: Monday, 10 June: Edgar Allan Poe, N 697-700, “Ligeia” & “Fall of the House of Usher” 708-731. “Annabel Lee,” 707-08. Nathaniel Hawthorne, N 584-587. “May-Pole of Merry Mount” & “Minister’s Black Veil”, 623-39. selection reader: recorder: poetry: Theodore Roethke, "I Knew a Woman," N 2604 poetry reader: recorder: Tuesday, 11 June: Nathaniel Hawthorne, N 584-587. “May-Pole of Merry Mount” & “Minister’s Black Veil”, 623-39. selection reader: recorder: poetry: poetry reader: recorder: Thursday, 13 June: Attendance not required Take-home midterm exams due via email by 9am Friday 14 June, to be posted to webpage. Research Proposals due via email before class on Monday, also to be posted to webpage. Monday, 17 June: Jonathan Edwards, N 174-211. Ralph Waldo Emerson, N 493-525 (introduction & Nature). Margaret Fuller, N 765-791. selection reader: recorder: poetry: Denise Levertov, "The Jacob's Ladder," N 2671 poetry reader: recorder: Tuesday, 18 June: Henry David Thoreau, “Resistance to Civil Government” N 852-868. Harriet Beecher Stowe, selections from Uncle Tom’s Cabin, N 791-821 selection reader: recorder: poetry: Sylvia Plath, "Blackberrying," N 2753 poetry reader: recorder: Thursday, 20 June: Harriet Jacobs, Incidents in the Life of a Slave Girl, N 826-849. Frederick Douglass, Narrative of the Life . . . , N 967-1001. selection reader: recorder: poetry: Robert Hayden, "Those Winter Sundays," N 2631 poetry reader: recorder: Monday, 24 June: Walt Whitman, N 1001-1005, “Crossing Brooklyn Ferry” 1033-38 “There Was a Child Went Forth,“ 1055-56. Allen Ginsberg, N 2696-1706. Thomas Wolfe, “The Lost Boy” (handout). selection reader: recorder: poetry: Whitman, “When I Heard the Learn’d Astronomer,” N 1044 poetry reader: recorder: Tuesday, 25 June: Rebecca Harding Davis, "Life in the Iron Mills" N 1211-1239 selection reader: recorder: poetry: Elizabeth Bishop, “The Fish,” N 2612 poetry reader: recorder: Thursday, 27 June: Samuel Clemens (Mark Twain), “The Notorious Jumping Frog of Calaveras County” N 1258-1265. Sarah Orne Jewett, "A White Heron," N 1594-1603. Charles W. Chesnutt, “The Goophered Grapevine” N 1639-1657. Gertrude Simmons Bonnin (Zitkala Sa), N 1774-1787. selection reader: recorder: poetry: Mary Oliver, "In Blackwater Woods," N 2766-67 poetry reader: recorder: Monday, 1 July: Claude McKay, N 2069-2073. Zora Neal Hurston, N 2082-2104. Jean Toomer, N 2118-2124. Langston Hughes, N 2224-2229. Countee Cullen, N 2242-2247. selection reader: recorder: poetry: Gwendolyn Brooks, "kitchenette building," N 2661 poetry reader: recorder: Tuesday, 2 July: F. Scott Fitzgerald, N 2124-2141 (“Winter Dreams”). William Faulkner, "A Rose for Emily" N 2169-2175 selection reader: recorder: poetry: Anne Sexton, from The Death of the Fathers, "2. How We Danced," N 2726 poetry reader: recorder: Thursday, 4 July: No class meeting--Independence Day Holiday) · Research Project / Journal (due via email either 3 or 5 July; 35%) · Take-Home Final Exam (due via email either 3 or 5 July; 35%) |