1)What differences account for the disagreement between DuBois and Washington on the issue of education? Make sure you define the two opposing schools they represent—industrial education and higher ed—and relate them to the authors’ life experiences.
LEARNING OBJECTIVES: STRONG OPENING THESIS, DEVELOPMENT (400 words), SUPPORT (quotations), OBJECTIVE TONE (No “I” or “we”).
2)Choose one of the five parts of The Waste Land and define the function of two of the three techniques discussed in this lesson in Eliot (fragmentation, juxtaposition, allusion). How does Eliot make the transition from scene to scene? Does there seem to be one speaker or two? How do we make a sense of meaning out of the rush of words? NOTE: Make sure you don’t misspell Eliot—it’s only one L, not two (not Elliot, or Elliott).
LEARNING OBJECTIVES: STRONG OPENING THESIS, DEVELOPMENT (500 words), SUPPORT (quotations), OBJECTIVE TONE (No “I” or “we”).
3) Two questions:
1.Define the function of external symbolism as Anderson and Fitzgerald employ it. How does external symbolism reveal characters’ states of mind in “Hands” and “Babylon Revisited”? What type of reading demands does this approach make on the audience?
2. Define the function of internal symbolism as Porter and Hemingway employ it. In other words, define interior monologue and/or stream of consciousness and show how the authors use them in “Flowering Judas” and “The Snows of Kilimanjaro” to dramatize specific forms of thought (hallucinations, dreams) to convey their internal states of mind.
LEARNING OBJECTIVES: STRONG OPENING THESIS, DEVELOPMENT (500 words), SUPPORT (quotations), OBJECTIVE TONE (No “I” or “we”).
4)Choose one of the poems for this lesson’s readings:
Modernism III: Poetry
Cummings “Cambridge Ladies” (D611)
Cummings, “next to god…” (D612)
Stevens, “Sunday Morning” (D273-76)
H.D., “Leda” (D333), “Helen” (D335)
Williams, “The Red Wheelbarrow” (D288), “Spring & All” (D286)
Frost, “Mending Wall” (D220-21); “Stopping By Woods” (D233-34).
Evaluate the poet’s stylistic methods according to the central criteria we noted for modernist poetry (i.e. fragmentation, juxtaposition, allusion). How does your poem’s use of OR lack of these elements change the readability of this work, as compared to Eliot’s The Waste Land or Pound’s Hugh Selwyn Mauberly?
LEARNING OBJECTIVES: STRONG OPENING THESIS, DEVELOPMENT (500 words), SUPPORT (quotations), OBJECTIVE TONE (No “I” or “we”).
5)Read Locke’s “The New Negro” and apply two of his characteristics of the Harlem Renaissance to one work from the other readings by Hughes, McKay, or Hurston. In what ways does the selection you chose convey the ideas in Locke’s definition?
LEARNING OBJECTIVES: STRONG OPENING THESIS, DEVELOPMENT (500 words), SUPPORT (quotations), OBJECTIVE TONE (No “I” or “we”).