Capstone Course
Fall 2018, Tuesdays and Thursdays,
12-1:15

CAPS 3 Credits

Draft version

Dr. Donna Campbell, campbelld@wsu.edu
202G Avery Hall,509-335-4831
Office Hours: TBA

Course materials available at http://www.wsu.edu/~campbelld/engl494/index.html

List of 1920s periodicals available at Holland/Terrell library: http://www.wsu.edu/~campbelld/engl494/magazines.htm

Required Texts

Lewis, David Levering The Harlem Renaissance Reader 1995 Penguin / 9780140170368
Fitzgerald, F. Scott The Beautiful and Damned 1998 Oxford / 9780192832641
Toomer, Jean Cane (Norton Critical Ed., 2nd ed.) 2010 Norton / 978-0-393-93168-6
Larsen, Nella Passing 2003 Penguin / 9780142437278
Hemingway, Ernest The Sun Also Rises 1995 Scribner / 0684800713
Parker, Dorothy The Portable Dorothy Parker, ed. Marion Meade 2006 Penguin / 0143039539

Description

Like the 2010s, the 1920s, called "The Jazz Age" by F. Scott Fitzgerald, was a time of great cultural change brought about by technological advances, youth culture, the liberation of women, increasing voter rights, an emphasis on higher education,and increasing racial tolerance and respect for African American contributions to American culture (The Harlem Renaissance). Yet also like the 2010s, it was an era of vast income inequality and economic uncertainty with historical consequences that differered from the hope implied by "Jazz Age" and "Harlem Renaissance." The basic principles of the course are to examine the mythology surrounding the era, to explore the cultural work that such a mythology has performed for later generations, and to investigate the ways in which such a mythology has obscured the political and racial tensions of the period. Topics to be covered include the rise of modernism, post-WWI racial tensions, social unrest (the bonus marchers and the Palmer raids), race and the rise of the New Negro, ethnicity and restrictive immigration laws, Prohibition, the rise of gangster culture, cultural types (sheiks, flappers, and so on), freedom in sexual mores (including what critics are now calling the “gay Harlem Renaissance”), new technologies, the role of film as a disseminator of popular culture, and the emancipation of women.  Among the authors to be studied are the following: F. Scott Fitzgerald, Jean Toomer, Ernest Hemingway, Dorothy Parker, Claude McKay, and Nella Larsen. Films could include Harold Lloyd’s The Freshman, Clara Bow in The Plastic Age, Oscar Micheaux’s Within Our Gates, and possibly The Roaring Twenties or Public Enemy. We will conclude with a retrospective vision of the 1920s as seen in films from later decades: Some Like It Hot, The Great Gatsby, Cotton Club, Chicago, and Idlewild.

Course Goals and Objectives

The goals for students in the course are as follows:

Required Texts

Important: You need to bring your book with you to class each day. Having your book in class is a vital part of class participation: you'll be asked to read passages aloud, give page citations, and so forth. Reading the book online and then coming to class is not sufficient, and your class participation grade will be lower as a result. Because the introductions to these books often contain "spoilers," you need not read them until after you have finished the book.

Recommended Text

Harmon and Holman, A Handbook to Literature (Prentice Hall, 9th ed.) (ISBN 0-13-012731-0)

Schedule of Assignments

This schedule should be regarded as a tentative guide to the assignments; it may well be changed as the semester progresses.  Because good, in-depth class discussion is more important than keeping up with the schedule, you should not be disturbed if some selections are omitted or if we appear to fall behind.  For some of the novels, you'll be asked to read more than the usual amount over the weekend for a Tuesday class, with a lighter reading assignment for the Thursday class. The schedule usually alternates between heavier and lighter reading assignments.

You should read each day's assignment carefully, including any headnotes or background material, and come to class prepared to discuss the reading. You're responsible for the material even if you missed class that day. Since you will also be writing about films and music of the era in your papers, quizzes, and exams, you should make arrangements to view or listen to any materials that you may miss if you do not attend class on a given day. Most are available either online, in the library, through Interlibrary Loan, or through a commercial service such as Netflix.

  Date

Reading Assignments

Other Assignments

1

8/21

Introduction

 
 

8/23

Flappers and Philosophers
Fitzgerald, "Bernice Bobs Her Hair"
"Winter Dreams"

"The Ice Palace" (optional reading)
Debate over bobbed hair (optional reading; online)

Sign up for weblog, report, or both

2

8/28

The Beautiful and Damned, part I

 
 

8/30

The Beautiful and Damned, part II

Weblog post #1
 

3

9/4

The Beautiful and Damned, part III

 
 

9/6

"Collegiate"
Harold Lloyd's The Freshman

Weblog post #2
 

4

9/11

Algonquin Round Table
Dorothy Parker, "Resume"; (PDP 99); "Interview" (117); "News Item" (109); "Bohemia" (223); "Unfortunate Coincidence" (96)
Parker,"Such a Pretty Little Picture" 371-381
Parker, "Big Blonde" (PDP 187-210)
Edna St. Vincent Millay, Sonnet XLIII (online)

Reports

Laptop day: Finding Scholarly Resources on the 1920s

 

9/13

Visit to MASC (if available)

Weblog post #3

 

5

9/18

A Day in the Life
Lewis, Babbitt, chapters 1-12

Paper 1 due (e-mail it to campbelld@wsu.edu)

 

9/20

Lewis, Babbitt, chapters 13-22

Weblog post #4

 

6

9/25

Lewis, Babbitt, chapters 23-end
Parker, "Mr. Lewis Lays it on with a Trowel" (handout)
Benchley, "The Catalogue School" (online)

 
 

9/27

Prohibition and Gangster Culture
The Public Enemy (1931)
Hemingway, "The Killers" (handout)

 

Sheet music exercise (in class)

Laptop day

 

7

10/2

Exam 1

 
 

10/4

No Class: Research Day

 

 

8 10/9

The Harlem Renaissance: Jazz and Poetry
Conclusion to The Public Enemy and discussion of the film.

Lewis, introduction to The Harlem Renaissance Reader (xiii-xli)
Joel A. Rogers, "Jazz at Home" HRR 52-57
Sterling Brown, "Ma Rainey" HRR 232-234
Ma Rainey, "Ma Rainey's Black Bottom" and other songs
Bessie Smith, "St. Louis Blues" (song)
Langston Hughes, "The Weary Blues" HRR 260-261;
Louis Armstrong, "Weary Blues" (song)
Gwendolyn Bennett, "Song" HRR 221-222


Reports

Song assignment

  10/11

No Class: Research Day

Weblog post #5

 

9

10/16

Harlem Renaissance: Poetry and Aesthetics
Countee Cullen, "Heritage" and "From the Dark Tower," HRR 244-248
Langston Hughes, "The Negro Speaks of Rivers" and "I, Too" HRR 257-258; "Negro," "Mulatto," HRR 262-263
Claude McKay, "If We Must Die" and "The White House," HRR 290-291
Alain Locke, from The New Negro, HRR 46-51
W. E. B. Du Bois, "Criteria of Negro Art," HRR 100-105
Langston Hughes, "The Negro Artist and the Racial Mountain," HRR 91-95

 
 

10/18

Harlem Renaissance: Lives
Claude McKay, from A Long Way from Home, HRR 156-172
James Weldon Johnson, from Black Manhattan, HRR 34-45
Langston Hughes, from The Big Sea, HRR 76-91
Rudolph Fisher, "The Caucasian Storms Harlem," HRR 110-117

Weblog post #6

Paper 2 due

Laptop day

.
10 10/23 Harlem Renaissance: Modernist Experimentation
Jean Toomer, Cane 1-51, especially "Karintha," "Fern," "Georgia Dusk," and "Blood-Burning Moon"
 
  10/25 Cane, 52-end, especially "Bona and Paul" and "Box Seat"
Criticism, pp. 197-207 (optional, but this will help you understand the book)
Weblog post #7
.

11

10/30

Harlem Renaissance: Race, Secrets, and Violence
Nella Larsen, Passing, parts 1 & 2

 

11/1

Passing, part 3
Wallace Thurman, from The Blacker the Berry, HRR 636-649

Weblog post #8
Optional Paper 3 (creative) due
.

12

11/6

Claude McKay, from Home to Harlem, HRR 370-388
Angelina Weld Grimke, from "The Closing Door" HRR 486-500

Reports
 

11/8

Film: Oscar Micheaux, Within Our Gates (1919)

Weblog post #9

 

13

11/13

Lost Generation and Expatriate Life
The Sun Also Rises,
chapters 1-12 (pp. 11-130) Parker, "A Book of Great Short Stories" PDP 494-497
Parker, "Oh, Look--A Good Book!" PDP 518-520

Precis assignment due
 

11/15

The Sun Also Rises, chapters 13-end (pp. 131-251)

Weblog post #10
 

14

11/20-22

Thanksgiving Week: No Class

 

       
15

11/27

Gender, Race, and Ethnicity in Film
Al Jolson in The Jazz Singer (1927)

 
 

11/29

Presentations on 1920s authors

Paper 4 due

 

16

12/4

Presentations on 1920s authors

 
 

12/6

Presentations on 1920s authors

 

17 12/13 Final exam 10:10 a. m. to 12:10 p.m  

Requirements and Assignments

Attendance is expected, as is class participation; both are essential parts of the course. You have four free absences; a fifth unexcused absence means that you fail the course.

Class participation is important, and you should come to class prepared to discuss each day's reading. Since the syllabus is online, as are the readings not in your textbooks, you should have no trouble in reading the next day's assignments even if you're absent on the previous day. If you have questions about the day's reading, don't hesitate to ask; chances are good that someone else had the same question.

Because we will be reading and analyzing passages from the readings during the class period, bringing your book with you is an essential part of class participation and will count in your class participation grade. As mentioned above, reading the assignment online and then coming to class is not sufficient.

Formal Papers. Students in this class will write the following

I will use abbreviations as references to grammatical principles on your corrected papers. The abbreviations and accompanying explanations are "Key to Comments" document here: http://public.wsu.edu/~campbelld/keyto.htm.

Format. Papers must be neatly typed and carefully proofread. Citations should follow MLA style as outlined in the MLA Handbook, Bedford Handbook, or other such guides. See more formatting guidelines at this link: http://public.wsu.edu/~campbelld/format.htm.

Electronic Version. Paper versions of papers (hard copies) are due at the beginning of class on the deadline date. If you prefer, you can upload an electronic copy to Angel (http://lms.wsu.edu) by 9 p.m. on the deadline date. Either a paper version or an electronic version is acceptable; paper versions will receive handwritten comments, and electronic versions will receive typed comments in the margins. Electronic versions will be returned through Angel in .pdf format.

If you upload your paper, name your file as follows: LastnameFirstinitial_ClassNumber_Papernumber. Example: If Joan Smith turns in her first paper, the file would be called SmithJ_368_Paper1.doc.

Late Papers and Extensions. Late papers are penalized at the rate of one letter grade (10 points) per class day late; a paper that would have received a "B" on Tuesday will receive a "C" if handed in on Thursday.

  • If you do not turn in a paper, you will receive a 0 for that portion of your grade. Papers received after four class days will receive 50 points but will not be formally graded.
  • You have one 48-hour extension in this class. This extension means that your paper will be due on the next class day, which could be more than 48 hours, without penalty.You must request the extension ahead of time, and you should save it for a true emergency, since no other extensions will be granted for illness, funerals, weddings, or any other reason.
  • Exams. This course has two exams. Exams in this course will consist of objective (multiple choice, short answer, matching) questions, identification questions, and an essay written in class. Exams cannot be made up without a doctor's note.

    Quizzes. Unannounced quizzes over the reading will be given frequently in this class. The quizzes test your specific knowledge of the reading assignment for that day and sometimes ask about information from a previous day's class discussion or lecture. For example, you might be asked the name of a character, the meaning of a term discussed in the previous class, the character associated with a particular quotation, or the results of a specific action that occurs in a scene. Their purpose is to reinforce your close reading of the material by asking you about significant points in the book.

    In-class writing and short assignments. Short, typed responses to the reading may be assigned from time to time, as will short pieces of in-class writing.

    Précis. One of the out-of-class assignments will be to write a précis of a journal article. You can find the précis assignment at http://www.wsu.edu/~campbelld/engl368/precis.htm.

    Reports and Blogs. Students in this class will either present a brief oral report to the class or keep an online journal (weblog) of their reading this semester. Both options will involve about the same amount of work, but with the blog option, you'll be spreading the work out over the entire semester. Those who choose both to present a report and to keep a weblog will not have to take the second exam.

    Policies

    Plagiarism Policy. Plagiarism is the unacknowledged use of someone else's words or ideas. This definition includes not only deliberately handing in someone else's work as your own but failing to cite your sources, including Web pages and Internet sources.

    WSU Statement on Academic Integrity. As an institution of higher education, Washington State University is committed to principles of truth and academic honesty. All members of the University community share the responsibility for maintaining and supporting these principles. When a student enrolls in Washington State University, the student assumes an obligation to pursue academic endeavors in a manner consistent with the standards of academic integrity adopted by the University. To maintain the academic integrity of the community, the University cannot tolerate acts of academic dishonesty including any forms of cheating, plagiarism, or fabrication. Washington State University reserves the right and the power to discipline or to exclude students who engage in academic dishonesty.

    WSU Midterm Policy. Based on ASWSU student requests and action by the Faculty Senate, WSU has recently instituted Academic Rule 88, which stipulates that all students will receive midterm grades. Midterm grades are not binding, and because the bulk of the graded work in this course occurs after the midterm point, it can only accurately reflect student performance up to that point.

    WSU defines a "C" grade as "satisfactory," and those whose grades at midterm are in the "satisfactory" range or above (A, B, or C) will receive a "C" for the midterm grade [or will receive no listed grade at midterm]. Those whose performance is deficient (D) or seriously deficient (F) will receive a D or F.

    This does not mean that your grade is a "C" but that your grade is in the satisfactory range (A, B, or C) and that there are no significant deficiencies noted up to that point.

    Electronics Policy. Recent studies have shown that people remember material better when they take notes by hand rather than on the computer, since typing on the computer tends to produce a transcription rather than the kind of selective note-taking that leads to understanding. Also, students participate more actively when they are not using a laptop, which benefits their class participation grade, and there are fewer distractions in the classroom without laptops. The following policies thus apply in this class:

    WSU Policy on Students with Disabilities. Reasonable accommodations are available for students with a documented disability. If you have a disability and need accommodations to fully participate in this class, please either visit or call the Access Center http://accesscenter.wsu.edu (Washington Building 217; 509-335-3417) to schedule an appointment with an Access Advisor. All accommodations MUST be approved through the Access Center.

    Safety Policy. See also the WSU Safety Policy (http://oem.wsu.edu/Emergencies) and Safety Plan (http://safetyplan.wsu.edu/).

    General Grading Criteria: List available at http://public.wsu.edu/~campbelld/grading.html.

    Because of FERPA and privacy issues, no grades will be discussed or transmitted by e-mail or instant messaging.

    Exams (exams, 10% each) 20 percent
    Short papers (2 at 15% each) 30 percent
    Report or weblog 10 percent
    Precis 5 percent
    Longer Paper or Project (20%) plus presentation (5%) 25 percent
    Quizzes, class participation, group presentations, and in-class writings 10 percent

    Grading Criteria

    Literary Studies Paper Rubric: http://www.wsu.edu/~campbelld/litstudiesrubric.docx
    Literary Studies Paper Rubric with Possible Points

    A note on the evaluation process in this course: Each piece of written work, from an essay on an exam to a formal paper, starts as a "0" and rises to one of the levels listed below based on the quality of its ideas, development, and writing. Thus your writing does not start from an "A" and "lose points" based on certain errors; instead, grading starts from a baseline and points are added based on the quality of your work. Think of the grading scheme as you would think of a game or a job. You don't start with a perfect score (or a high salary) and lose points by making errors; rather, you start from a baseline and gain points based on the quality of your skills as demonstrated by your performance. The same is true here.

    I will use abbreviations as references to grammatical principles on your corrected papers. The abbreviations and accompanying explanations are available on the "Key to Comments" document here: http://public.wsu.edu/~campbelld/keyto.htm.