Writing and Literature: 21 Credits Required
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Lauro Flores
Lauro Flores Department of Romance Languages and Literatures University of Washington Seattle, W A 98195 Visible Language XXI 1 (Winter 1987) Lauro Flores, pp.130-152 ©Visible Language, Wayne State University Press, Detroit, MI 48202 The contact and interaction of English and Spanish, of Mexican and Anglo-American cultures, lies at the heart of the Chicano experience in the United States. Accordingly, code-switching has been a salient feature of many Chicano literary works. The simulta neous incorporation of both languages into poetry and other artistic forms is sometimes interpreted as an expression of the ambiguity permeating the historical evolution of this people. However, it can also be explained as part of the Chicanos' attempt to achieve cultural definition and autonomy in a con flicting reality. 131 II The author gratefully The historical context. acknowledges the support he received from the Institute for Ethnic Studies in the Any brief reference to Chicano poetry is bound to United States, University of refer the uninformed reader almost exclusively to Washington. It made the literary production loosely associated with the possible the completion of Chicano movement - poetry written during the last this and other projects. two decades. Until recently, the general contention, or at least the assumption on the part of many critics and literary historians, was that before the 1960s there was no literature written by people of Mexican descent in the United States. Nothing could be farther from the truth. While it is clear that the Chicano movement came to foment and revitalize the artistic endeavors of Chicanos during the last twenty years, subsequent research has demonstrated that the production of literature is hardly a new activity for this group. -
Nuyorican and Diasporican Literature and Culture E
Nuyorlcan and Diasporican Uterature and Culture Oxford Research Encyclopedia of Literature Nuyorican and Diasporican Literature and Culture e Jorge Duany Subject: American Literature, Literary Studies (20th Centwy Onward) Online Publication Date: jan 2018 DOI: 10.1093/acrefore/9780190201098.013.387 Summary and K.eywords The term "Nuyorican" (in its various spellings) refers to the cornbination of "Puerto Rican" and "NewYorker." The sobriquet became a popular shorthand for the Puerto Rican exodus to the United States after World War II. Since the mid-1960s, the neologism became associated with the literary and artistic movement known as "Nuyorican." The movement was institutionalized with the 1973 founding ofthe Nuyorican Poets Café in the Lower East Side of Manhattan by Miguel Algarín and Miguel Piñero. Much of Nuyorican literature featured frequent autobiographical references, the predominance of the English language, street slang, realism, parodie humor, subversiva politics, and a ruptura with the island's literary models. Since the 1980s, the literature of the Puerto Rican diaspora has been characterized as "post-Nuyorican" or "Diasporican" to capture sorne of its stylistic and thematic shifts, including a movement away from urban blight. violence, colloquialism, and radicalism. The Bronx-born poet Maria Teresa ("Mariposa") Fernández coined the term "Diasporican" in a celebrated 1993 poem. Contemporary texts written by Puerto Ricans in the United States also reflect their growing dispersa! from their initial concentration in New York City. Keywords: Puerto Rican diaspora, Puerto Ricans in New York. second-generation immigrants, retum migration to Puerto Rico Pago 1 of22 PRINTED PROM the OXFORD RESEARCH ENCYCLOPEDIA, LITERATURE (literature.oxfordre.com). (e) Oxford University Press USA. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
Introduction to Mexican American Literature Fall 2020 Professor
Introduction to Mexican American Literature Fall 2020 Professor Charles Tatum THURSDAYS from 10 am-12 pm September 17, 24, October 1, 8, 15 Course Description: Of the over 50 million Latinas and Latinos living in the United States today, approximately 35 million are Americans of Mexican descent. Yet, the trajectory of Mexican American culture in general and literary expression in particular is still relatively unknown. This course will offer a succinct overview of this rich literary tradition that dates to the mid-nineteenth century. In the first session Tatum will trace its development through the 1950s. In the following four sessions he will focus on the resurgence of Mexican American literature that began in the mid-1960s and that has rapidly burgeoned over the past six decades. Included in our readings will be the narrative fiction (novels and short stories), poetry and autobiographical works of authors such as Rudolfo Anaya, Lorna Dee Cervantes, Luis Urrea, Helena María Viramontes, Sandra Cisneros, Gary Soto, Alberto “Tito” Ríos and Juan Felipe Herrera (a recent U.S. poet laureate). In the last session Tatum will introduce a younger generation of Mexican American writers including Manuel Muñoz, Kristin Valdez Quade, Casandra López and Ada Limón. Dr. Charles Tatum is Professor Emeritus of Spanish at The University of Arizona. He is the author of a monographic study Chicano Literature (1982), published in translation in Mexico in 1986. Among his other book-length publications are: Chicano Popular Culture, 2001, (2nd edition, 2017); Chicano and Chicana Literature: Otra voz del pueblo (2006); and Lowriders in Chicano Culture. He has edited or co-edited several anthologies of Mexican American literature. -
Grade 7 Unit 1
( Note: this is not complete.) Readability Scores Grade 7 Unit 1 “Seventh Grade” by Gary Soto Difficulty Level: Easy Readability: Lexile 730, Fry 7, Dale-Chall 6.5 “The Last Dog” by Katherine Paterson Difficulty Level: Challenging Readability: Lexile 830, Fry 4, Dale-Chall 6.9 “Thank You, M’am” by Langston Hughes Difficulty Level: Easy Readability: Lexile 850, Fry 7, Dale-Chall 5.1 “Rikki-tikki-tavi” by Rudyard Kipling Difficulty Level: Average Readability: Lexile 990, Fry 10, Dale-Chall 6.5 “Exploring the Titanic” by Robert D. Ballard Difficulty Level: Average Readability: Lexile 970, Fry 9, Dale-Chall 6.1 from An American Childhood by Annie Dillard Difficulty Level: Average Readability: Lexile 880, Fry 7, Dale-Chall 6.2 “Casy at the Bat” by Ernest Lawrence Thayer Difficulty Level: Challenging “The Monsters are Due on Maple Street” by Rod Serling Difficulty Level: Average “The Unnatural Course of Time” Difficulty Level: Challenging Readability: Lexile 1180, Fry 12, Dale-Chall 7.8 Grade 7 Unit 2 “Zebra” by Chaim Potok Difficulty Level: Challenging Readability: Lexile 880, Fry 8, Dale-Chall 5.5 “The Legacy of the Vietnam War” Difficulty Level: Average Readability: Lexile 1040, Fry 11, Dale-Chall 6.5 “The Scholarship Jacket” by Marta Salinas Difficulty Level: Easy Readability: Lexile 760, Fry 12, Dale-Chall 5.2 “A Retrieved Reformation” by O. Henry Difficulty Level: Challenging Readability: Lexile 900, Fry 7, Dale-Chall 6.4 “The Three-Century Woman” by Richard Peck Difficulty Level: Average Readability: Lexile 550, Fry 7, Dale-Chall 5.6 -
September 2017 COURSE TITLE
MASTER COURSE OUTLINE Prepared By: Sean Twohy Date: September 2017 COURSE TITLE American Literature III GENERAL COURSE INFORMATION Dept.: ENGL& Course Num: 246 (Formerly: ENG 246) CIP Code: 23.0801 Intent Code: 11 Program Code: Credits: 5 Total Contact Hrs Per Qtr.: 55 Lecture Hrs: 55 Lab Hrs: 0 Other Hrs: 0 Distribution Designation: Humanities HU COURSE DESCRIPTION (as it will appear in the catalog) This class explores American literature published in the decades since 1960. Themes studied may include terrorism and cold war anxiety, technology, gender roles, multiculturalism, alienation, rebellion, popular psychology, or others relevant to the literature of the time. Students will read contemporary novels, stories, and poems that reflect American trends and culture during this period. Students do NOT need to have taken American Literature I or American Literature II to do well in this course. PREREQUISITES None TEXTBOOK GUIDELINES Instructor should choose at least three contemporary novels, as well as contemporary poems and short stories (available in print anthologies or online). Emphasis should be on “canonical” texts published since 1960 that act as artifacts of and lenses into contemporary American culture. Authors should be of recognizable importance to contemporary literature. COURSE LEARNING OUTCOMES Upon successful completion of the course, students should be able to demonstrate the following knowledge or skills: 1. Identify and discuss a variety of contemporary literary themes and schools of thought, and be able to apply these to contemporary poetry and fiction. 2. Identify and discuss the relevance of a variety of contemporary short story writers, novelists and poets, and be able to articulate their contribution to the canon. -
UNIVERSITY of CALIFORNIA RIVERSIDE Conocimiento Narratives
UNIVERSITY OF CALIFORNIA RIVERSIDE Conocimiento Narratives: Challenging Oppressive Epistemologies Through Healing in Latina/o Children’s and Young Adult Literature A Dissertation submitted in partial satisfaction of the requirement for the degree of Doctor of Philosophy in English by Sonia Alejandra Rodríguez August 2015 Dissertation Committee: Dr. Traise Yamamoto, Chairperson Dr. Erica Edwards Dr. Phillip Serrato Copyright by Sonia Alejandra Rodríguez 2015 The Dissertation of Sonia Alejandra Rodríguez is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS Completion of this dissertation project was made possible by the following funding sources: Eugene-Cota-Robles Fellowship, the Institute for Research on Labor and Employment Mini-Grant, the Queer Lab Research Grant, the University of California Institute for Mexico and the United States, the Graduate Research Mentoring Program Fellowship, and the University of California Dissertation Year Fellowship. A section in the dissertation’s introduction was previously published in Encyclopedia of Latino Culture: From Calaveras to Quinceañeras. iv DEDICATION Para mi mami. Upon arriving to this country my mother made sure to enroll my sister and me in school. She did not speak English, did not know her way around her new neighborhood, and could not drive but somehow she made sure we were able to go to school. I obtained my first pair of glasses in the first grade only because my mom bartered cleaning services for them. While the glasses were adult frames and were literally half the size of my tiny face, my mom cleaned the optometrist office for a long time just so that I could see the chalkboard. My mother has lived a tough life but her support of my educational pursuits has never wavered. -
Contributors, About Cutbank, Advertisements, Subscriptions, Back Cover
CutBank Volume 1 Issue 50 CutBank 50 Article 37 Fall 1998 Contributors, About CutBank, Advertisements, Subscriptions, Back Cover Follow this and additional works at: https://scholarworks.umt.edu/cutbank Part of the Creative Writing Commons Let us know how access to this document benefits ou.y Recommended Citation (1998) "Contributors, About CutBank, Advertisements, Subscriptions, Back Cover," CutBank: Vol. 1 : Iss. 50 , Article 37. Available at: https://scholarworks.umt.edu/cutbank/vol1/iss50/37 This Back Matter is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in CutBank by an authorized editor of ScholarWorks at University of Montana. For more information, please contact [email protected]. C ontributors Elizabeth Brinsfieldhas worked as a spotlight operator in the circus, as a home health care assistant in Appalachia, and as a teacher at Navajo Prepatory School in Farmington, New Mexico. Kevin Canty’snew novel,Nine Below Zero, will be appearing this winter from Nan A. Talese/Doubleday. He lives in Missoula, Montana with his wife, the photographer Lucy Capeheart, and their two children, Turner and Nora. I Ienry Cari.ile teaches poetry writing and contemporary Ameri can literature at Portland State University. He has recendy pub lished poems inGrays SportingjournalandWillow Springs. His col lectionKain was published by Carnegie Mellon University Press in 1994. Sheilah Colemanreceived her MFA in ficdon from the Univer sity of Michigan. She lives in Brooklyn, New York and is finish ing her first novel. Tess G allagher’s latest collecdon of stories,A t the Owl Woman Saloon (Scribner, 1997) appeared onNew the York l imes Book Re- view list of Notable Books for 1997. -
The Future of US Latino/A Literary Theory
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Perez, Richard Emerging Canons, Unfolding Ethnicities: The Future of U.S. Latino/a Literary Theory Centro Journal, vol. XXII, núm. 1, 2010, pp. 298-307 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37721077013 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative CENTRO Journal imagining a U.s. Latino/a Future review essay Volume7 xx11 Number 1 s p r i n g 2010 U.S. Latino/a Literary Theory, I have argued elsewhere (Perez and Di Iorio Sandín 2007), is stretching the social boundaries of what it means not only to be Latino/a, but American. One of the most rooted expressions of a cultural presence or signifier of belonging is the creation of a literary tradition. The three texts examined in this review essay review—The Latino/a Canon and the Emergence of Post-Sixties Literature by Raphael Dalleo and Elena Machado Sáez; On Latinidad: U.S. Latino Literature and the Construction of Ethnicity by Marta Caminero-Santangelo; and A Companion to U.S. Latino Literatures edited by Carlota Caulfield and Darien J. Davis1—testify to a U.S. Latino/a accumulation of texts that have chronicled an undeniable presence, growing Emerging Canons, Unfolding in force and significance with each decade of the 20th and 21st centuries. -
Nilda De Nicholasa Mohr. El Bildungsroman Y La Aparición De Un Espacio Puertorriqueño En La Literatura De Los EEUU
ATLANTIS 28.1 (June 2006): 101–113 ISSN 0210-6124 Nilda de Nicholasa Mohr. El Bildungsroman y la aparición de un espacio puertorriqueño en la literatura de los EEUU Nilda, by Nicolasa Mohr. The Bildungsroman and the Creation of a Puerto Rican Space in the Literature of the USA Pilar Bellver Sáez University of Wisconsin-Madison, USA [email protected] In his classic study The Way of the World Franco Moretti argues that the characteristic journey from youth to maturity that the Bildungsroman narrates amounts to a symbolic representation of the integration of the bourgeoisie self into modernity. According to Moretti, this genre becomes obsolete by the end of the First World War, when the loss of faith in the civilizing ideals of modernity make it impossible to represent integration into a coherent social whole. However, many critics argue that the genre is being revitalized by writers who stand in the margins of modern society due to their gender, race or class. Nilda, by, Nicolasa Mohr, illustrates the transformations the Bildungsroman undergoes in the hands of the US born-and-raised Puerto Rican writer of the second half of the 20th century. In Nilda the education of the heroine does not symbolize the poor immigrant’s successful acceptance and integration into mainstream culture. On the contrary, the awakening of the self serves as a metaphor for the appearance of a distinctive Puerto Rican space within the American literary experience, a complex space from which Mohr reaffirms her heritage while at the same time she critically examines pervading patriarchal roles within Puerto Rican culture. -
University of Florida Thesis Or Dissertation Formatting Template
“EVERY CHILD IS BORN A POET”: THE PUERTO RICAN NARRATIVE WITHIN AMERICAN CHILDREN’S CULTURE By MARILISA JIMÉNEZ A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Marilisa Jiménez 2 To Mami, Papi, Losmin, Abuelo Daniel, Abuela Basilisa, Abuelo Ramón and Abuela María (Yin) 3 ACKNOWLEDGMENTS I would like to thank the University of Florida English Department and the UF Office of Graduate Minority Programs for their support of my doctoral education. In particular, I would like to thank my graduate committee. I especially want to thank Dr. Kenneth Kidd whose motivation, professionalism, and kindness is truly exemplary. I could not have worked out my ideas for this process without the insight and help of Dr. Anastasia Ulanowicz whose support both moral and scholarly has been a blessing. Thank you to Dr. Hedrick, Dr. Page, and Dr. Gonzalez for making this a more well- rounded discussion and recommendations throughout. I also want to acknowledge my fellow doctoral student Emily Murphy for listening to my ideas about chapters and suggesting theoretical readings. I thank my parents, Carlos and Carmen Jiménez, who taught me that I could do anything and that education was an opportunity never to be wasted. My sister, Losmin, taught me that I could be a woman of faith no matter where I go or what I do. To my Lord and Savior Jesus Christ who is the source of everything I can say or do (“never would have made it without You”). -
UNIT One Rites of Passage the Bass, the River, and Sheila Mant W.D
TO T HE ST UDEN T ................................... xii UNIT ONE Rites of Passage The Bass, the River, and Sheila Mant W.D. Wetherell short story .............................. 2 P OE T RY CONNE ct ION Oranges Gary Soto poem ................................ 11 from I Know Why the Caged Bird Sings Maya Angelou autobiography ............................ 14 Through the Tunnel Doris Lessing short story .............................. 30 P OEM S OF PA ss AGE First Lesson Phillip Booth poem .............................. 45 On Turning 10 Billy Collins poem ............................... 46 Hanging Fire Audre Lorde poem ............................... 48 Vegetarian Enough Annie Choi autobiography .............................. 50 from My Forbidden Face Latifa autobiographical narrative ........................... 62 Unfinished Business Elisabeth Kübler-Ross interview .......................... 72 P OE T RY CONNE ct ION “Good Night, Willie Lee, I’ll See You in the Morning” Alice Walker poem .............................. 80 WRI T ER S ON WRI T ING Introduction to Shelf Life Gary Paulsen book preface ............................. 82 A WRI T ER ’S WORK S HO P Autobiographical Narrative .......... 90 iv n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n n UNIT Two Family Ties The Scarlet Ibis James Hurst short story ............................... 96 from Riding The Bus with My Sister Rachel Simon memoir ................................112 A Christmas Memory Truman Capote short story ............................ 124 P OEM S OF MO T HER S AND GRANDMO T HER S Memory Lucille Clifton poem ...........................