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ENGL 139 - Black American Literature

Section 1 (3 credits) ~~ Fall 2009
PDF COPY OF SYLLABUS

 

“What, to the American slave, is your 4th of July?  I answer:  a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is a constant victim.  To him your celebration is a sham; . . . a thin veil to cover up crimes which would disgrace a nation of savages. . . .”

~ "Fourth of July Oration at Rochestor" Frederick Douglass, 1852

Dr. Sandra L. Staton-Taiwo
E-mail: sls63@psu.edu
Phone: (717) 771-4156
Office: 219 ISTC
Office Hours:
  • I am always available by appointment. Otherwise, my scheduled hours for this Fall 2008 semester are as follows:
    • Tuesday/Thursday  12:00 PM - 1:00 PM
    • Wednesday  10:00 AM - 12:00 PM
To skip to a particular section,
select any of the following links.

Course Description Course Expectations Course Objectives
Course Materials Course Schedule Course Policies
Course Statements Assignment Details Grade Criteria


COURSE DESCRIPTION

Class Meeting Time

Tuesday/Thursday

112 MAIN

1:30 - 2:45 PM

SECTION 1

In case of a two-hour delay, refer to the snow schedule: http://www2.yk.psu.edu/currentstudents/snowsched.shtml

Description

ENGL 139S (GH;US) Black American Literature (3) Fiction, non-fiction, poetry, and drama, including such writers as Hughes, Baldwin, Douglass, Ellison, Morrison, Wright, and Du Bois.


Purpose
The purpose of this course is to acquaint students with the literature of Black America in the context of American traditions.

COURSE EXPECTATIONS
 

Expectations

What you can expect of me:
  • to help facilitate your learning experience
  • to speak clear enough and slow enough for you to understand the lessons, the assignments, and the expectations for the class
  • to adhere to the syllabus and the assignments and expectations detailed on it--HOWEVER, I reserve the right to make changes to the syllabus as needed, but I will provide ample notice in class of changes to be made
  • to answer any question you may have until you have the answer you need
  • to respect you and your needs and to treat all students equally and fairly
  • to provide opportunities for you to display your maturity and competence as an adult
  • to be respectful to each person in the classroom environment

What I expect of you:

  • to take responsibility for your learning experience
  • to come to class and participate
  • to complete required assignments or accept the consequences
  • to complete assignments in a manner that showcases your best self
  • to know due dates and assignments listed in the syllabus and announced in class
  • to communicate to me any issues that you may have with the class or with any expectations BEFORE the end of the semester
  • to know that I have office hours outside of class if you need extra help
  • to be respectful to each person in the classroom environment
 
COURSE OBJECTIVES
  • To understand certain literary terms when analyzing fiction, drama, and poetry in general
  • To read various essays and criticism about black literature and/or black American culture
  • To understand the slave narrative and its influence on the protest tradition of black American literature in general
  • To apply literary terms and literary criticism to short and long fiction, drama, and poetry
  • To analyze poetry and criticism and compose compositions that apply cultural criticism
  • To gain confidence while presenting one's thoughts before one's peers
COURSE MATERIALS

Required Texts

  • Young, Al, Ed.  African American Literature: A Brief Introduction and Anthology.  New York: Addison-Wesley Educational Publishers, 1996. 
    Du Bois, William E. B.  The Souls of Black Folk.  Norton Critical ed.  New York:  W. W. Norton and Company, 1999.

Other Requirements


Required Assignments

   

Attendance Points

10%

Participation & Reflection Points 10%

*Quizzes 

20%

Salience Analysis of fiction, nonfiction, AND poem (3-5 pages) =750-1250 words

30%

MID-TERM essay exam & FINAL essay exam

20%    

Dramatic Immersion and Synopsis (John Brown Trip or Equivalent) 10%
*The lowest quiz grades will be dropped. There will be no makeup quizzes.
COURSE SCHEDULE

TEXTS

AAL - African American Literature
SBFThe Souls of Black Folk

DO = We'll / You'll "DO" it in class     |    DUE = You'll submit it in the ANGEL drop box by Midnight 

DATES

Topic & Reading Assignments

Writing/Speaking Assignments

August 25, 27

TOPICAL TERM(S):    salience, double-consciousness

FEATURED WRITER:  W. E. B. Du Bois, 

Tuesday: Focus: Du Bois, Introduction &  "Forethought" (SBF 5-6). Poets:  Salience Medley
Thursday:  Focus: Du Bois, The Souls of Black Folk : "Of Our Spiritual Strivings" (SBF 9-16). Poets:  W. E. B. Du Bois ("The Song of the Smoke," AAL 366-67); J. W. Johnson ("Lift Every Voice and Sing" & "The Creation,"  AAL 368-372)

Tuesday:  

DO:  In-Class Introductions 

Thursday:  

DO:  Mini-Lecture--history behind "Strivings" (Plessy vs Ferguson, etc)

September 1, 3

TOPICAL TERM(S):  close reading, assimilation,

FEATURED WRITER:  W. E. B. Du Bois, Booker T. Washington, Dudley Randall, Phillis Wheatley, Frances E. W. Harper

Tuesday: Focus: Du Bois "Criteria for Negro Art" Washington, "The Struggle for an Education"

Du Bois, The Souls of Black Folk : "The Sorrow Songs" (SBF 154-64); Randall ("Booker T. and W. E. B." & "An Answer to Lerone Bennett's Questionnaire on a Name for Black Americans"  AAL 399-401)
Thursday:  Focus: Washington, "The Atlanta Exposition Address & "The Secret of Success in Public Speaking"
Wheatley ("On Imagination," AAL 360-61); Harper ("The Slave Auction" AAL 364-65)

Tuesday:  

DO:  Discussion

Thursday:  

DO:  Discussion

September 8, 10

TOPICAL TERM(S) reconstruction, dialect

FEATURED WRITER:  W. E. B. Du Bois, Paul Laurence Dunbar, Claude McKay

Tuesday: Focus: Du Bois, The Souls of Black Folk : "Of the Dawn of Freedom" (SBF 17-33). Poet:  Dunbar ("Sympathy," "When Malindy Sings," & "We Wear the Mask" AAL 371-376)
Thursday:  Focus: Du Bois, The Souls of Black Folk : "Of Mr. Booker T. Washington and Others" (SBF 34-45). Poet:  McKay ("The Tropics in New York," "The Lynching," & "If We Must Die,"  AAL 377-378)

Tuesday:  

DO:   Discussion 

Thursday:  

DO:   Discussion

DO: Recitation Presentation Extra Credit Option

September 15, 17

TOPICAL TERMS:  American Dream

FEATURED WRITER:  W. E. B. Du Bois, Sterling Brown, Langston Hughes

Tuesday: Focus: Du Bois, The Souls of Black Folk : "Of the Meaning of Progress" (SBF 46-54). Poet:  Brown ("After Winter" & "Foreclosure"  AAL 385-87)
Thursday:  Focus: Du Bois, The Souls of Black Folk : "Of The Wings of Atalanta" (SBF 54-61). Hughes "The Negro Artist and the Racial Mountain;" Poet:  Hughes("Harlem," "The Weary Blues," "The Negro Speaks of Rivers," "I, too, Sing America," "Mother to Son," "Havana Dreams," & "Birmingham Sunday,"  AAL 388-93)

Tuesday:  

DO:   Discussion

Thursday:  

DO:   Discussion

DO: Recitation Presentation Extra Credit Option

September 22, 24

TOPICAL TERM(S):  elegy

FEATURED WRITER:  W. E. B. Du Bois, Robert Hayden, Countee Cullen

Tuesday: Focus: Du Bois, The Souls of Black Folk : "Of the Training of Black Men" (SBF 62-74). Poets:  Hayden ("Frederick Douglass" & "The Whipping" & "Homage to the Empress of the Blues" AAL 394-96)
Thursday:  Focus: Du Bois, The Souls of Black Folk : "Of The Black Belt" (SBF 74-88). Poets:  Cullen ("The Wise" & "Incident" AAL 397-98)

Tuesday:  

DO:  Discussion 

DUE: Poetry Analysis of Salience Paper

Thursday:  

DO:   Discussion

DO: Recitation Presentation Extra Credit Option

September 29, October 1

TOPICAL TERM(S):  open form/free verse

FEATURED WRITER:  W. E. B. Du Bois, Margaret Walker, Gwendolyn Brooks,  Maya Angelou, Derek Walcott

Tuesday: Focus: Du Bois, The Souls of Black Folk : "Of the Quest of the Golden Fleece" (SBF 89-104).  Poets:  Walker ("Miss Molly Means" & "October Journey" AAL 402-06); Brooks ("First Fight. Then Fiddle," On Lincoln Williams on His Way to Lincoln Cemetary," "The Birth in a Narrow Room," & "We Real Cool" AAL 407-09)
Thursday:  Focus: Du Bois, The Souls of Black Folk : "Of The Sons of Master and Man" (SBF 105-119). Poets:  Angelou ("Willie" AAL 415-16); Walcott ("A Far Cry From Africa" & "Omeros" AAL 417-19)  

Tuesday:  

DO:   Margaret Walker "I Want to Write"

Thursday:  

DO:   Discussion

DO: Recitation Presentation Extra Credit Option

October 6, 8

TERMS & TOPICS:  blank verse, connotation/denotation, spoken-word 

FEATURED WRITER:  W. E. B. Du Bois, Nikki Giovanni, Quincy Troupe,  Sonia Sanchez, Rita Dove, Kool Moe Dee

Tuesday: Focus: Du Bois, The Souls of Black Folk : "Of the Faith of Our Fathers" (SBF 119-29) & "Of the Passing of the First Born" (SBF 130-34).  Poets:  Giovanni ("Nikki-Rosa" AAL 458-59); Troupe ("Poem for My Father" AAL 465-67)
Thursday:  Focus: Du Bois, The Souls of Black Folk : "Of Alexander Crummell" (SBF 134-42). Poets:  Dove ("Banneker," Canary," & "Ö" AAL  484-87); Moe Dee ("Knowledge is King" AAL 500-02)  

Tuesday:  

DO:   Sonia Sanchez "Ballad"

 

Thursday:  

DO:  Discussion

DO: Recitation Presentation Extra Credit Option

 

October 13, 15

TERMS & TOPICS: paradox 

FEATURED WRITER:  W.E. B. Du Bois, Bill Ellis

Tuesday: Focus: Du Bois, The Souls of Black Folk : "Of The Coming of John" (SBF 142-154); Ellis "He Who Endures" (AAL, 507-521)

Thursday:  Focus: Ellis "He Who Endures" (AAL, 522-535); Shange ("Rite-ing" AAL 479-81); excerpts from For Colored Girls. . .  

Tuesday:  

DO:   Discussion

Thursday:  

DO:   Discussion

DO: Recitation Presentation Extra Credit Option

DUE: Mid-Term Exams

October 20, 22

TERMS & TOPICS:  patriarchal, Post-Traumatic Slave Syndrome

FEATURED WRITERS:  Harriot Jacobs, Frederick Douglass, Toni Morrison, Jamaica Kincaid

Tuesday: Focus: Jacobs "Incidents" (AAL, 17-20); Douglass Narrative (AAL, 21-25)

Thursday:  Focus: Morrison "Recitatif" (AAL, 209-225); Jamaica Kincaid, "Girl" (AAL, 310-11)


Tuesday:  

DO:   Discussion

Thursday:  

DO:   Discussion

DUE: Essay Analysis of Salience Paper

DO: Recitation Presentation Extra Credit Option



October 27, 29

TERMS & TOPICS:   fame-shame culture

FEATURED WRITERS:   Richard Wright, Charles W. Chestnutt

Tuesday: Focus: Wright "Blueprint for Negro Writing" & "Almos' a Man" (AAL, 115-125)

Thursday:  Focus: Chestnut "The Wife of His Youth" (AAL, 89-98) 

Tuesday:  

DO:   Discussion

Thursday:  

DO:   Discussion

DO: Recitation Presentation Extra Credit Option

November 3, 5

TERMS & TOPICS:  ideology, signifying, semiotics

FEATURED WRITERS:  Ernest Gaines, Alice Walker

Tuesday: Focus: Gaines "The Sky is Gray" (AAL, 226-249)

Thursday:  Focus: Walker "Nineteen fifty-five" (AAL, 285-297)

Tuesday:  

DO:   Discussion

Thursday:  

DO:   Discussion

DO: Recitation Presentation Extra Credit Option

November 10, 12

TERMS & TOPICS:  ideolect, dialect, other-mothering 

FEATURED WRITERS:  Gloria Naylor, Toni Cade Bambara

Tuesday: Focus: Naylor "Kiswana Browne" (AAL, 312-321)

Thursday:  Focus: Bambara "The Lesson" (AAL, 270-276)

Tuesday:  

DO:   Discussion

Thursday:  

DO:   Discussion

DO: Recitation Presentation Extra Credit Option

November 17, 19

TERMS & TOPICS: counter-insurgency, Black Aesthetics, Afrocentricity

FEATURED WRITERS:  Zora Neale Hurston, Richard Wright (essayist reviews)

Tuesday: Focus: Hurston "How It Feels to Be Colored Me;"  & "Sweat" (AAL, 99-108); Hughes "The Negro Artist and the Racial Mountain;"

Thursday:  Focus: Wright "Blueprint for Negro Writing" & "Almos' a Man" (AAL, 115-125); Du Bois "Criteria for Negro

Tuesday:  

DO:  Discussion  

Thursday:  

DO:  Discussion 

DO: Recitation Presentation Extra Credit Option

DUE:  Fiction Analysis of Salience Paper

November 24, 26
THANKSGIVING BREAK

December 1, 3

TERMS & TOPICS:  Harlem Renaissance, Protest tradition,  Black Arts Movement

FEATURED WRITERS:  Alain Locke, James Baldwin, Larry Neal, Hoyt W. Fuller

Tuesday: Focus: Locke "The New Negro" (Harlem Renaissance Handout); Baldwin, "Everybody's Protest Novel (Protest Tradition Handout)

Thursday:  Focus: Neal "The Black Arts Movement" (BAM Handout); Fuller "Towards a Black Aesthetics" (BAM Handout) 

Tuesday:  

DO: Discussion

Thursday:  

DO: Discussion 

DO: Recitation Presentation Extra Credit Option

DUE:  Introduction and Conclusion to Salience Analysis

December 8, 10

  

TERMS & TOPICS:  Structuralism, Post-Structuralism, African American Feminist Criticism, Womanism

FEATURED WRITERS:  Henry Louis Gates, Barbara Christian, Toni Morrison, Alice Walker, Shirley Anne Williams

Tuesday: Focus: Gates "Preface to Blackness: Text and Pretext" (Handout); Christian "The Race for Theory" & "But What Do We Think We're Doing Anyway: The State of Black Feminist Criticism(s) or My Version of a Little Bit of History  (Handouts)

Thursday:  Focus: Morrison "Unspeakable Things Unspoken:  The Afro-American Presence in American Literature" (Handout); Walker "In Search of Our Mothers' Garden" (Handout); Williams "Some Implications of Womanist Theory" (Handout)  

Tuesday:

DO: Discussion

Thursday: 

DO: Discussion

DUE:  Latest Date For Dramatic Immersion and Synopsis

DUE: End-Term Exams

Note: The schedule details readings as well as assignments to be completed for class.  Readings should be completed prior to the day of class, for scheduled readings will be discussed in class on the day that it is listed on the schedule.  If you have any questions regarding any requirements, please visit me during office hours and/or email me via ANGEL.  You can copy your ANGEL email to my general Penn State account, but use your ANGEL account to send your message.


COURSE POLICIES

Attendance and Assignment Submission

In fairness to students who overcome obstacles and submit work on time, I will not accept late work.  HOWEVER, in order to encourage students to attend class in lieu of skipping class to finish the assignmentI consider work late when it is not submitted before midnight on the day that the assignment is due. This time allowance permits students to finish all classes for the day and deal with any computer/printer/human problems after class/work/remedies.   In fairness to students who take an earlier class, all classes are privy to the same rule.  Early submissions are always welcome.  Any assignments that are NOT completed during class time should be submitted via the assignment's drop box on ANGEL.  I prefer the ANGEL drop box for two reasons:  1) emailed assignments often are lost and/or sent to my junk box.  2) the Angel drop box will record the exact time of submission and will insure fairness and equality for all students.

GRADE CRITERIA

Letter grades will be assigned according to the following scale:

94 - 100

A

90 - 93

A-

87 - 89

B+

84 - 86

B

80 - 83

B-

77 - 79

C+

70 - 76

C

60 - 69

D

below 60

F



SUMMARY OF MECHANICAL ERRORS
MAJOR ERRORS: ( Five-point deduction for each occurrence)
  • subject/verb disagreement
  • comma splices
  • fragments
  • run-on (fused) sentences
MINOR ERRORS  (Three-point deduction for each occurrence)
  • shifts in tense, mood, voice, type of discourse
  • misplaced or dangling modifiers
  • incorrect word forms
  • misspelling
  • faulty parallelism
  • mixed and illogical constructions
  • pronoun/antecedent agreement errors and other types of faulty pronoun reference
  • errors in case
  • missing or faulty title
  • wrong word-- but not in reference to style, which emphasizes choosing the "best" word.
ANNOYANCES  (one-point deduction for each occurrence)
  • faulty capitalization
  • missing or misused apostrophe
  • compound words written separately or two words written as one
  • word omissions
NOTE: Each time "they're, there, their" OR "your, you're" OR "its, it's" is used incorrectly, one point will be deducted.  For example, do NOT make errors like the following: 

"Their happy to be here,"
"Your a very nice person."
"The dog lost it's bone"

Usually, the little apostrophe signals a contraction, and contractions usually are not recommended for formal writing.   Avoid contractions, and you may avoid such errors. The apostrophe signals possession in proper nouns, but not in pronouns such as it's.   It's = It is. They're = They are. You're = You are.  As a strategy, PROOFREAD out loud.

COURSE STATEMENTS

Assuring Academic Integrity

Academic integrity is the pursuit of scholarly activity in an open, honest and responsible manner. Academic integrity is a basic guiding principle for all academic activity at The Pennsylvania State University, and all members of the University community are expected to act in accordance with this principle. Consistent with this expectation, the University's Code of Conduct states that all students should act with personal integrity, respect other students' dignity, rights and property, and help create and maintain an environment in which all can succeed through the fruits of their efforts.

Academic integrity includes a commitment not to engage in or tolerate acts of falsification, misrepresentation or deception. Such acts of dishonesty violate the fundamental ethical principles of the University community and compromise the worth of work completed by others.

Avoiding Plagiarism
Plagiarism means using the exact words, opinions, or factual information from another source without giving that source credit. Writers give credit through the use of accepted documentation styles, such as parenthetical citation, footnotes, or end notes; a simple listing of books, articles, and websites is not sufficient. Plagiarism is the equivalent of intellectual robbery and cannot be tolerated in an academic setting.

Student writers are often confused as to what should be cited. Some think that only direct quotations need to be credited. While direct quotations do need citations, so do paraphrases and summaries of opinions or factual information formerly unknown to the writers or which the writers did not discover themselves. Exceptions to this include factual information which can be obtained from a variety of sources, the writers' own insights or findings from their own field research, (what has been called common knowledge). What constitutes common knowledge can sometimes be precarious; what is common knowledge for one audience may not be so for another. In such situations, it is helpful to keep the reader in mind and to think of citations as being "reader friendly." In other words, writers provide a citation for any piece of information that they think their readers might want to investigate further. Not only is this attitude considerate of readers, it will almost certainly ensure that writers will not be guilty of plagiarism.

 The University's statement on Academic Integrity is available at the following site: http://www.psu.edu/dept/oue/aappm/G-9.html


Finding Assistance

  1. Ask questions in class
  2. Ask other students before or after class
  3. Visit the Nittany Success Center in MAIN 108
  4. E-mail questions to me: sls63@psu.edu
  5. Visit me in my office during office hours (219 ISTC)
  6. Schedule an appointment with me (sls63@psu.edu, 771-4156)

Assuring Classroom Decorum

Cell phones should not be on in class.  When class is in session, please turn cell phones off or on vibrate, so ringing does not interrupt class time.  Ringing, beeping, or any other disturbance results in a tardy, and two tardies are the equivalence of an absence.  A tardy also occurs when you disturb class time by arriving more than fifteen minutes after the beginning of class OR LEAVE EARLY without prior approval.  One absence (or two tardies) will be excused.  Be respectful of other students and their learning opportunities by containing all distractions.


Respecting Diverse Abilities

Penn State is committed to providing access to a quality education for all students, including those with documented disabilities. If a student has a disability and wishes an accommodation for a course, it is the student's responsibility to obtain a University letter confirming the disability and
suggesting appropriate accommodation. This letter can be requested from the York campus Disability Contact Liaisons, Dr. Sharon Christ, Student Affairs (ALL); Dr. Cora Dzubak, learning Center (LEARNING); and Todd Eicker, Admissions (PHYSICAL).

Students are encouraged to request accommodation early in the semester so that, once identified, reasonable accommodation can be implemented in a timely manner.


Rolling with the Punches

When circumstances warrant change, this syllabus is subject to revision by the instructor.

Staton-Taiwo/Fall 2009


ASSIGNMENT DETAILS

Attendance Points  ~~ 10%

WHEN:  Your presence presentation  is based on your attendance and is due each class period. If you're not there, you can't share.  Missed days beyond one day can be made up by checking out the class notebook during office hours and/or contacting a student in reference to missed notes and content.  Once a journal entry is completed to make up the missed day, up to the point missed could be credited back to your grade.  In a well-developed paragraph, summarize the day of class that you missed:  What was covered, what was done, what you learned, etc.
 
WHAT:  
Receive credit for your presentation of yourself in class.  This means that each absence up to ten could result in a 1 point loss off of your final 10 point grade for the attendance part of the grade. 

HOW:  Each absence will result in a reduction of the presence presentation grade.   More than ten absences will result in a 0 for the atttendance part of the presence presentation, with each absence reducing the attendance part of the presentation by one point
.  One absence will be excused, and the student with one absence will earn the full ten points of the attendance part of the grade.  The student with perfect attendance, however, will earn extra credit--11 points (or 110%) for the attendance part of the presence presentation grade.  

GRADING:  Perfect attendance will yield an attendance score of 110%.  One absence will be excused; thus, one absence will yield an attendance score of 100%.   Each absence after one will reduce the score by ten percent, which would be one point off of the total ten points.  If a student has five absences, the attendance part of the grade will be 60, with one absence being excused.   If a student has ten absences, the final attendance grade will be 10 out of 100, or one out of the ten points.  


Participation & Reflection Points ~~ 10%

WHEN:  Each class period provides opportunities for participation.  Each reading assignment provides opportunities for reflection.  Participate at least once a week and record at least ten weeks of your participation in your ANGEL online participation journal, either before or after the fact.   I will check journals weekly and will record appropriate credit periodically throughout the semester.  

WHAT: Keep a participation journal that records accurate participation and that reminds this instructor that you contributed throughout the semester.  
For shy students, a participation journal entry can also project meaningful thoughts about current readings that I could possibly contribute for the "shy" student.  Like projected participation entries, reflection journal entries would reflect on the readings but should NEVER repeat the thought or writing of the optional poetry journal entry or of the projected participation entry.
  

HOW:  Using the ANGEL drop box, record your entry in the "remarks" section.  Attachments are NOT recommended for this assignment.  Record your participation, because this instructor has many students and may not remember each student's individual contribution.  
Therefore, remind me in the journal.  Also record your reflections on some readings, because this instructor wants to know what you think about what you have read.  Throughout the semester, your participation and reflections will be remembered and appreciated and will contribute to your final grade at the end of the semester.  If you are not able to attend a class, you are free to write in your journal about the reading BEFORE the reading is discussed in class and submit it as a reflection.

GRADING:   Each participation entry is worth ten points and is scored  based on the following scale:
 

  • A (9 or 10 out of 10 points)= actively engaged in the class and able to ask questions or give answers that show insight and appreciation;

  • B (8 out of 10 points)= answered questions

  • C (7 out of 10 points)=  present with book, prepared, and basically attentive;

  • D (6 out of 10 points)=  late, or present but without book, or answers show that the reading hasn't been done;

  • F (0 out of 10 points)=  absent.  

You can NOT wait to record journal entries all at once.  You are likely NOT to remember what you did or said, and the whole purpose of the participation journal would be defeated.  You only need to record for ten of the fifteen weeks to complete the ten entries, BUT no one week should include more than two entries.  IN OTHER WORDS, you cannot  submit a deluge of entries toward the end of the semester.  I will only record grades for the first two and/or your preferred two entries per week.

SAMPLE ENTRY:  Participation during a student presentation
Today during class Mr. Eric recited a song entitled "Dear Mama" by Tupac which he deemed to be spoken word poetry because it fit the three main criteria of that type of poetry: rhythm, rhyme, and repetition. He then inquired if anyone in the class had agreed with him. I raised my hand asking what the three criteria were and then i stated that the song he recited emcompassed all three of the criteria into how it was written. Eric made a good point in saying that some rap songs are forms of spoken word poetry. He stated that if the words over-power the beat or music of the song then it should be considered a spoken word poem. In spoken word poetry, the words are the key into understanding what is being said. The same goes for rap music. Many artists take pride in thier lyrics and have things to say. They put words to a beat in order to make a song. But in order to have thier words heard in the manner they want, they need to make the beat/music inferior to the words. I agree that "Dear Mama" is a spoken word poem in the form of a song like Eric said. Tupac wanted his mother to know how much she was appreciated and he put all those thoughts into lyrics that meshed with music. The music did not interfere with the words being clearly heard so I think he was able to get the point across to his mother- the intended listener. Many rap artists simply make up silly lines and their words are all over the place making the song nonsense; the beat however, is what keeps the audience hooked. That is why most rap songs are constantly replayed over the radio stations all day. Good beats sell in rap music-- not good lyrics. However, good lyrics can also sell in the rap world if they are mixed with a catchy beat. Hip hop is a realm of beats. If you can dance to the beat of a song in hip hop it will be a good seller and people will want to hear it over and over again because it gets you moving and dancing.  "Dear Mama" is a great example of spoken word in rap music.


*Quizzes ~~ 20%

WHEN: Pop quizzes will be given either at the very beginning or at the very end of class.  An attempt will be made to provide at least one pop quiz per week.  Some quizzes will be opportunities to express your opinion and not just your knowledge about the course and or any material covered.

WHAT:
 Pop quizzes are opportunities for you to show what you know.

HOW:  If a pop quiz is given at the beginning of class, it will be given during the first ten or fifteen minutes of class and will be based on information from a previous class period and/or reading.  If a pop quiz is given at the end of class, it will be given during the last ten or fifteen minutes of class and will be based either on material discussed during that class period or will be an opportunity for students to express for credit any concerns that they may have about the class and/or the material.

GRADING:   At least ten quizzes will be given, and the highest ten grades will count.  If a student is able to take more than ten quizzes, the lowest pop quiz grades beyond the ten will be dropped.  If a student takes less than ten pop quizzes, a grade of 0 will be given for each quiz less than the ten quizzes required for a grade.

Salience Analysis of nonfiction, fiction, AND poetry  ~~ 30% (three parts--10% each)

WHEN:  As noted on the course schedule, this analysis will be due in three parts: The poetry analysis due by September 22, 2009.  The essay/ non-fiction analysis is due by October 22, 2009.  The fiction analysis is due by November 19, 2009.  The introduction and conclusion to the works will be due by December 3, 2009 and will result in a five-point deduction if not submitted.  As always, early submissions are welcome.
 
WHAT:  
This salience analysis of nonfiction, fiction, AND poetry will be your opportunity to locate and explain the most salient identity in a collection of Black American literature.  In addition to "blackness," this literature also often explores other identities among seven possible categories:  race & ethnicity,  gender, religion,  sexual orientation, socioeconomic status, age, or ableness (physical and mental ability). Each part should be 1-2 pages in length, for a total of 3-6 pages (750-1500 words).

HOW:  Throughout the semester, you will have the opportunity to read various genres of "Black American Literature
."  You are to choose a work of poetry, a work of non-fiction (as in Du Bois' Souls of Black Folk or any of the other nonfiction essays discussed in class) AND a work of fiction that interests you.  You are to identify in each work the most salient identity in addition to blackness (race and ethnicity).  Explain how this other identity is just as crucial if not more crucial than the race issue.  Inevitably, this review may involve some author analysis as well and WILL REQUIRE a trustworthy source through either the Penn State LIAS database of peer-reviewed journals and/or some other literary authority
 
GRADING:  Grading for your salience analysis will  be based on five areas, each worth 20% (or twenty points out of the total 100).  The five areas are as follows:

  • 1) Focus:  Do you have a clear, central thesis and purpose and do you address all aspects of the thesis?
  • 2) Content:  Do you provide good background information and use a comprehensive approach, excellent insight into the topic, evidence of strong, reflective analysis, and keen awareness of audience?  Do you answer the relevant question in reference to expected criteria?
  • 3) Support:  Do you provide excellent support drawn from your experience, knowledge, and/or research?  Do you use examples to enhance and deepen the focus of the thesis?  
  • 4) Organization and Structure:  Do you have clear, logical progression of ideas?  Does your paper contain a clear, engaging introduction that previews the paper's main argument and does your paper have coherent, well-developed paragraphs and transitional phrases?  Does your paper contain a strong conclusion, which draws together and summarizes your main points?  
  • 5) Written Quality & Mechanics:  Do you use college-level vocabulary that varies sentences and wording?  Do you use vivid examples and employ a strong, consistent voice?  Do you have excellent grammar, spelling, usage, and punctuation?  Does your paper flow effortlessly?

Mid-Term & Final Essay Exams  ~~ 10% (EACH) for a TOTAL of 20% 

WHEN: As noted on the course schedule, the mid-term essay exam will be due by October 20, 2009 and the end-term essay exam will be due by the designated exam day in May of 2009.

WHAT:
 Material covered in the class will be reviewed in two segments:  mid-term and end term.  Both essay exams will include a multiple-choice matching segment that covers topic vocabulary throughout the semester.  The mid-term exam will include the first half of the semester's topics, up to October 15, 2009, and the end-term will include the last half of the semester's topics, from October 20, 2009 to December 10, 2009, the last day of class.  In addition to the multiple-choice matching part of the essay exam, an essay, of course, will also be required.  The essay part of the exam will be your well-composed answer/resolution to one of three to four optional prompts.      

HOW:  Both the multiple-choice/ matching and the essay parts of the exam will be completed separately and graded separately.  Both parts will be available via ANGEL during a designated period of time.  Students will have about a week to complete both parts of each exam.   
   
GRADING:  The multiple-choice/ matching part of the exam will be graded by ANGEL, and a grade will be awarded as soon as this part of the exam is completed.  To ensure accuracy and fairness, I will double-check any answers and make any necessary changes to scores.  The essay part of the exam will be completed separately and will be graded manually.  Both parts will then be averaged together, with the essay part of the exam being worth two parts to the multiple-choice-matching one part.  In other words, the essay part of the exam will be worth about twice the amount (70%) of the multiple-choice/matching part (30%) of the exam.  The essay part of the exam will be graded based on the following five areas:

  • 1) Focus:  Do you have a clear, central thesis and purpose and do you address all aspects of the thesis?
  • 2) Content:  Do you provide good background information and use a comprehensive approach, excellent insight into the topic, evidence of strong, reflective analysis, and keen awareness of audience?  Do you answer the relevant question in reference to expected criteria?
  • 3) Support:  Do you provide excellent support drawn from your experience, knowledge, and/or research?  Do you use examples to enhance and deepen the focus of the thesis?  
  • 4) Organization and Structure:  Do you have clear, logical progression of ideas?  Does your paper contain a clear, engaging introduction that previews the paper's main argument and does your paper have coherent, well-developed paragraphs and transitional phrases?  Does your paper contain a strong conclusion, which draws together and summarizes your main points?  
  • 5) Written Quality & Mechanics:  Do you use college-level vocabulary that varies sentences and wording?  Do you use vivid examples and employ a strong, consistent voice?  Do you have excellent grammar, spelling, usage, and punctuation?  Does your paper flow effortlessly?


   

  

Recitation Presentation of Poetry ~~ + 5 points (Extra Credit)

WHEN: Students sign up for presentations on any day between September 1 and October 15, during the first half of the semester, since poetry is listed to be discussed during the first half of the semester, unless otherwise arranged.   

WHAT:  The Recitation presentation of poetry is an opportunity to earn extra credit as well as demonstrate your skill in dramatic recitation.  Costumes are not recommended, but good acting is always welcome.

HOW:  The format of your presentation should follow the guidelines for a well-developed composition, with a beginning (introduction), middle (recitation & explication), and end (conclusion).  Your oral presentation should be between five and ten minutes.

GRADING:  Up to ten points can be added to the Salience analysis with a recitation presentation.  The grading criteria for oral presentations will also be based on five areas, with each area weighing 20% of the grade:

  • 1) Organization:  You should present information in a well-organized and interesting manner, you should focus on a central idea or narrowed aspect of your research, your speech should flow well, and you should build to a strong conclusion.  
  • 2) Active Involvement:  You should actively involve the class through use of props, learning exercises, handouts, and other techniques.  Through your presentation, you should creatively teach an aspect of your research.  
  • 3) Content:  You should demonstrate superb knowledge and understanding of the topic, you should support your ideas with vivid examples and details and you should make relevant connections for your audience.
  • 4) Voice:  You should demonstrate great enthusiasm for the topic, speak clearly and loudly enough to be understood easily, and you should vary your tone and pitch for animated speaking style.  
  • 5) Body Language:  You should make effective eye contact with the whole audience throughout the presentation, and you should use gestures and body language to emphasize certain points.

   

Dramatic Immersion and Synopsis  ~~ 10%

WHEN: The class is planning a trip to West Virginia (Harper's Ferry) on Saturday, October 17, 2009, to commemorate the 150th anniversary of John Brown's Raid.  The trip should add substance to the play we are to read, "To He Whom Endures," by Bill Ellis, scheduled to be read October 13 and 15, after the completion of The Souls of Black Folk.  The written synopsis would follow and would be due by the last week of the semester.

WHAT:  The trip to Harper's Ferry is a once in a lifetime event that this particular class can enjoy.  Visit the following web site for a side show of Harper's Ferry:   http://www.nps.gov/hafe/photosmultimedia/index.htm .  If a student or students can not share in the moment, then the student(s) will need to find an equivalent event that could add depth to the play read in class.  For example, a trip to Frederick Douglass' house in Washington, DC could work, if a tour is given.  The same holds true for tours of the Gettysburg battlefield or an local underground railroad.  Students are free to surf the web and find other commemorations; however, the class trip would be optimal.  Extra attendance points will NOT be earned for substitution trips.
  

HOW:  Students can plan to attend with the class the events scheduled for October 17.  Upon attending the event, students will write a one page synopsis of the impact of the trip.  Does the trip add substance to the play read in class?  Which parts of the play come to life after attending the events scheduled.  Write a one-page synopsis answering such questions and detailing your experience.

GRADING:  Seven of the ten points will be awarded after proving attendance duirng this event or at an approved event.  In addition to the 10%, two attendance days will be added to the attendance grade.  HOWEVER, if no event is attended, points for this class assignment cannot be earned unless an approved substitute is completed.  In short, the trip is worth 10% of the final grade as well as an  extra two days of attendance--Even if one has perfect attendance already, the points will still be added, for a total of twenty extra points on the attendance grade, for a maximum of 130%.   The other three points out of the ten points will be for the synopsis part of the trip, which should be about one page in length and  will be graded based on the following five areas:

  • 1) Focus:  Do you have a clear, central thesis and purpose and do you address all aspects of the thesis?
  • 2) Content:  Do you provide good background information and use a comprehensive approach, excellent insight into the topic, evidence of strong, reflective analysis, and keen awareness of audience?  Do you answer the relevant question in reference to expected criteria?
  • 3) Support:  Do you provide excellent support drawn from your experience, knowledge, and/or research?  Do you use examples to enhance and deepen the focus of the thesis?  
  • 4) Organization and Structure:  Do you have clear, logical progression of ideas?  Does your paper contain a clear, engaging introduction that previews the paper's main argument and does your paper have coherent, well-developed paragraphs and transitional phrases?  Does your paper contain a strong conclusion, which draws together and summarizes your main points?  
  • 5) Written Quality & Mechanics:  Do you use college-level vocabulary that varies sentences and wording?  Do you use vivid examples and employ a strong, consistent voice?  Do you have excellent grammar, spelling, usage, and punctuation?  Does your paper flow effortlessly?

Last updated September 27, 2009