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講義概要/Course description
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The Harlem Renaissance in American Literature and History
[I] Knighton Zemi this year will be held as a paired course in the Winter semester offered on Monday/2 and Thursday/4. In this paired course that meets twice a week, we will explore the social currents and politics that paved the way for a movement of artists and writers to coalesce and form the “Harlem Renaissance.” Most prolific in the 1920s and often associated with New York, the publishing center of the U.S., the Harlem Renaissance can actually be understood as a broader national, and global, Black Arts movement that embraced Caribbean and European Negritude figures and that would extend its influence to later developments in existentialist philosophy and postcolonial theory.
In the Monday class, we will read the standard bearers in this field:Jean Toomer, Zora Neale Hurston, W.E.B. Du Bois, James Weldon Johnson, Langston Hughes, Ann Petry, Jessie Redmon Fauset, Claude McKay, Countee Cullen, Nella Larsen, and so many others, depending on student interest and specialization.We will consider fiction, long and short, as well as essays, poetry, and artwork.
[II] Knighton Zemi this year will be held as a paired course in the Winter semester offered on Monday/2 and Thursday/4.
In this paired course that meets twice a week, we will explore the social currents and politics that paved the way for a movement of artists and writers to coalesce and form the “Harlem Renaissance.” Most prolific in the 1920s and often associated with New York, the publishing center of the U.S., the Harlem Renaissance can actually be understood as a broader national, and global, Black Arts movement that embraced Caribbean and European Negritude figures and that would extend its influence to later developments in existentialist philosophy and postcolonial theory.
In the Thursday class, we will read critical theory and the major newspapers and literary journals of the period as invaluable resources to understand the experimental nature and history that motivated the fictional works. Besides questioning the separation of art and politics, we will explore just how the system of white patronage worked against a background of white privilege, Jim Crow daily life, and KKK racial violence, not to mention the explosion in visual and performing arts that made black entertainment, as much now as then, “in vogue.” Depending on time and student interests, we will also take up the new generation of black writers indebted to the Harlem Renaissance: Richard Wright, Ralph Ellison, and James Baldwin, among others.
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達成目標/Course objectives
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Our method will be to read closely (精読) and discuss widely, before writing short analytical and interpretative essays about the texts and times of the Harlem Renaissance. Students will complete comprehension quizzes, and write a final paper at the end of the term. Students will give presentations in class, and lead discussion on occasion as well. Participation is vital and that means attendance is required (“job hunting” or other reasons for more than three absences risk lower grades and failure in the course). Students interested in U.S. history, culture, literature, and the teaching of language and literature are welcome!
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履修条件（事前に履修しておくことが望ましい科目など）/Prerequisite
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Permission of the instructor
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授業計画/Lecture plan
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1
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| 授業計画/Class |
THIS COURSE WILL BE HELD IN PERSON ON CAMPUS, EXCEPT FOR THE FIRST CLASS, WHICH WILL BE ON DEMAND AND ONLINE VIA ZOOM (Contact the Professor for the Zoom information by the DAY BEFORE the first class meeting)
Introductions; Review of Syllabus and Course Plan
Introduction to the Harlem Renaissance as a historical period
Claude McKay, “The Tropics in New York” and “The Harlem
Dancer”; Introduction to Banjo and the international Black Arts movement
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2
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| 授業計画/Class |
Countee Cullen, “The Black Christ” and “Tableau”; Langston
Hughes, “Mulatto”
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3
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| 授業計画/Class |
Eugene O’Neill, The Emperor Jones (Acts 1-3)
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4
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| 授業計画/Class |
Eugene O’Neill, The Emperor Jones (Acts 4-6)
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5
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| 授業計画/Class |
Eugene O’Neill, The Emperor Jones (Acts 7-8); Paul Robeson,
“Reflections on O’Neill’s Plays” and contemporary reviews of performances
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6
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| 授業計画/Class |
Main publications of the Harlem Renaissance:
The Crisis (NAACP); The Messenger (Socialist Party-inspired journal of A. Philip
Randolph and Chandler Owen); and Opportunity (National Urban League);
Nancy Cunard and Alain Locke, Anthologies of Negro Art; Fire!! and Ebony and Topaz
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7
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| 授業計画/Class |
White Patrons and Colored Artists of the Harlem Renaissance:
Miss Anne, Carl Van Vechten, Miguel Covarrubias, Charles Cullen, Nugent, Reiss,
Aaron Douglas, and Romare Bearden
Excerpts from Film: Against the Odds: Artists of the Harlem Renaissance
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8
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| 授業計画/Class |
Gertrude Stein, “Melanctha”
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9
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Dorothy West, “The Typewriter”
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10
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| 授業計画/Class |
Nella Larsen, “The Wrong Man,” “Freedom,” “Sanctuary”
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11
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| 授業計画/Class |
Dubose and Dorothy Heyward, “Porgy and Bess”
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12
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| 授業計画/Class |
Ann Petry, excerpt from The Street (if time, short story, such as
“Miss Muriel”)
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13
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| 授業計画/Class |
Richard Wright, “Blueprint for Negro Writing”; excerpt from
Black Boy
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14
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| 授業計画/Class |
Writing Workshop for Final Research Papers
Before class: Bring a draft of your paper with a bibliography or copies of outside sources
After class: Relying on peer feedback as well as the professor’s critique, revise final
research paper
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15
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| 授業計画/Class |
Final Research Paper due; Summing up the Harlem Renaissance
legacy in literature and history
Before class: Revise and proofread your final paper, careful to double-check citations
and bibliographic format as well as transitions, counterargument, and thesis ties to topic
sentence development throughout your essay
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| 事前学習/Preparation |
Before each class, review the syllabus schedule but above all check your notes from the previous class about changes to the preparation or reading of assignments
When reading,make notes, check vocabulary, and note any questions about grammar
Aim to develop your own interpretation or critique of the work at hand based on the evidence presented in the text itself ("close reading" / 精読)
Be attentive to your feelings about the text and then try to understand how or why it produces such an effect on you as a reader
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| 事後学習/Reviewing |
After each class, review your notes and the parts of the text that you did not understand beforehand and verify what you have learned,and note any new questions or possibilities for interpretation. Keep in mind that you do not have to agree with the interpretations provided in class but you should use them as a model for how to present evidence for your ideas in persuasive, evidence-based ways.
Doublecheck the schedule for the next week against the syllabus as any changes the professor makes in class take precedence over the initial syllabus (NB: This is especially important if you were absent from class or missed these instructions due to tardiness. Check with a fellow classmate or email the professor. Also check CoursePower emails regularly.)
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授業方法/Method of instruction
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| 区分/Type of Class |
対面授業 / Classes in-person
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| 実施形態/Class Method |
通常型 / regular
補足事項/Supplementary notesTHIS COURSE WILL BE HELD IN PERSON ON CAMPUS, EXCEPT FOR THE FIRST CLASS, WHICH WILL BE ON DEMAND AND ONLINE VIA ZOOM (Contact the Professor for the Zoom information by the DAY BEFORE the first class meeting)
Depending on the ongoing pandemic situation as well as enrollment numbers and size of the class, in addition to background and talents of the students, this course will be carried out in person during our regularly scheduled class period as a mix of lecture using visual and written materials and class discussion and presentations by individual students. Students will be expected to rely on their notes from class and those based on the readings to participate actively in class discussion and give relevant formal presentations in class. Final papers in several stages will be workshopped in class and require several drafts before the final is submitted. As needed, media from internet and archival sites, as well as primary document sources, will be introduced. When required, students must attend Zoom classes or one-on-one meetings besides checking materials uploaded to Course Power after receiving via Course Power email notifications
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| 活用される授業方法/Teaching methods used |
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成績評価方法/Evaluation
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100%
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[I] Four quizzes at 15% each, and a final paper at 20%.
Students will be asked to give short presentations in class and participate actively for 20% of their grade, depending on the size of the class.
[II] Four quizzes at 15% each, and a final paper at 20%.
Students will be asked to give short presentations in class and participate actively for 20% of their grade, depending on the size of the class.
[通年]Students are encouraged to take BOTH classes, not just one, each week.
Four quizzes at 15% each, and a final paper at 20%. Students who take BOTH classes twice a week in this paired course may write one longer paper for both courses rather than two shorter papers.
Students will be asked to give short presentations in class and participate actively for 20% of their grade, depending on the size of the class.
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教科書/Textbooks
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| | コメント
Comments |
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PDFs will be supplied on CoursePower.
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