English: Requirements
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Native American Literature Symposium
the Native American Literature Symposium OUR LAND AND WATER Mystic Lake Hotel & Casino Prior Lake, Minnesota March 2-4, 2017 e Native American Literature Symposium is organized by an independent group of Indigenous scholars committed to making a place where Native voices can be heard. Since 2001, we have brought together some of the most in uential voices in Native America to share our stories— in art, prose, poetry, lm, religion, history, politics, music, philosophy, and science—from our worldview. Gwen N. Westerman, Director Minnesota State University, Mankato Virginia Carney, Tribal College Liaison President Emeritus, Leech Lake Tribal College Gordon Henry, Jr., Publications Editor Michigan State University LeAnne Howe, Arts Liaison University of Georgia Denise Cummings, Film Wrangler Rollins College eo Van Alst, Film Wrangler University of Montana Margaret Noodin, Awards University of Wisconsin, Milwaukee Niigaanwewidam James Sinclair, Maazinaate Book Blitz University of Manitoba Tyler Barton, Assistant to the Director Minnesota State University, Mankato Tria Wakpa Blue, Vendor/Press Coordinator University of California, Berkeley Angela Semple, Vendor/Press Assistant Trent University Prior Lake, Minnesota 1 Wopida, Miigwech, Mvto, Wado, Ahe’ee, Yakoke We thank the sponsors of the 2017 Symposium for their generous funding and continued support that made everything possible. Shakopee Mdewakanton Sioux Community (SMSC) Charlie Vig, Tribal Chairman Deborah Peterson, Donation Coordinator Mystic Lake Hotel and Casino De l Hall, Conference -
Native American Literature
ENGL 5220 Nicolas Witschi CRN 15378 Sprau 722 / 387-2604 Thursday 4:00 – 6:20 office hours: Wednesday 12:00 – 2:00 Brown 3002 . and by appointment e-mail: [email protected] Native American Literature Over the course of the last four decades or so, literature by indigenous writers has undergone a series of dramatic and always interesting changes. From assertions of sovereign identity and engagements with entrenched cultural stereotypes to interventions in academic and critical methodologies, the word-based art of novelists, dramatists, critics, and poets such as Sherman Alexie, Louise Erdrich, Louis Owens, N. Scott Momaday, Leslie Marmon Silko, Simon Ortiz, and Thomas King, among many others, has proven vital to our understanding of North American culture as a whole. In this course we will examine a cross-section of recent and exemplary texts from this wide-reaching literary movement, paying particular attention to the formal, thematic, and critical innovations being offered in response to questions of both personal and collective identity. This course will be conducted seminar-style, which means that everyone is expected to contribute significantly to discussion and analysis. TEXTS: The following texts are available at the WMU Bookstore: The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie (Spokane) The Last Report on the Miracles at Little No Horse, by Louise Erdrich (Anishinaabe) Bloodlines: Odyssey of a Native Daughter, by Janet Campbell Hale (Coeur d'Alene) The Light People, by Gordon D. Henry (Anishinaabe) Green Grass, Running Water, by Thomas King (Cherokee) House Made of Dawn, by N. Scott Momaday (Kiowa) from Sand Creek, by Simon Ortiz (Acoma) Nothing But The Truth, eds. -
A Journal of Theory and Practice Summer 2013 (6:2) 39
Teaching American Literature: A Journal of Theory and Practice Summer 2013 (6:2) Big Vibrators, Bums, and Big Explosions: Danger and Reward in Teaching Sherman Alexie RosaMaria Chacon, California State University Northridge Abstract The short stories, novels, and poetry of Native American author Sherman Alexie provide his readers with a host of controversial topics. Unafraid to tackle race or religion, Alexie also pushes sexual boundaries and the social conventions surrounding them. Nothing is sacred. He does not refrain from offering the spectacle of the homeless or alcoholic Indian, thus drawing sharp criticism from Native American scholars. And yet, this author provides the college teacher with the necessary resources in Ten Little Indians to bring his stories into the classroom: humor, satire, and clever narrative strategies. In doing so, he provides rich material to facilitate the development of critical thinking in literature classrooms. Functioning almost as an intermediary for the college teacher who dares to assign him, Alexie weaves resources for defusing potential strife and discord in the classroom directly into his literature. When students are dissatisfied with a particular college professor, the teacher can lose a promotion or even be denied tenure, and fired. These dangers are not reserved for the truly incompetent. Almost all teachers can come under fire through student complaints or evaluations. "Even the most conscientious teacher" according to Rose Weitz, "risks lawsuits (if students claim discrimination), poor student evaluations (if students find a topic or approach threatening), or even dismissal (if administrators believe a teacher has behaved improperly or has simply cost the institution too much political capital)" (227). -
Djuna Barnes's Bewildering Corpus. by Daniela Caselli. Burlington, VT
Book Reviews Improper Modernism: Djuna Barnes’s Bewildering Corpus. By Daniela Caselli. Burlington, VT: Ashgate, 2009. x + 290 pp. $114.95 cloth. Modernist Articulations: A Cultural Study of Djuna Barnes, Mina Loy, and Gertrude Stein. By Alex Goody. New York: Palgrave Macmillan, 2007. xii + 242 pp. $75.00 cloth. TextWkg.indd 153 1/4/11 3:35:48 PM 154 THE SPACE BETWEEN Djuna Barnes’ Consuming Fictions. By Diane Warren. Burlington, VT: Ashgate, 2008. xviii + 188 pp. $99.95 cloth. It is something of a scandal that so many people read Nightwood, a text that used to be so scandalous. For much of the twentieth century, the obscurity of Djuna Barnes’s novel was considered to be a central part of its appeal. To read or recommend it was to participate in a subversive or subcultural tradition, an alternative modernism that signified variouslylesbian , queer, avant-garde. Within the expanded field of recent modernist scholarship, however, Barnes’s unread masterpiece is now simply a masterpiece, one of the usual suspects on conference programs and syllabi. Those of us who remain invested in Barnes’s obscurity, however, can take comfort in the fact that, over the course of her long life and comparatively short career, Barnes produced an unruly body of work that is unlikely to be canonized. Indeed, Barnes’s reputation has changed: once treated as one of modern- ism’s interesting background figures, fodder to fill out the footnotes of her more famous male colleagues, she has now become instead a single-work author, a one-hit wonder. And no wonder; the rest of her oeuvre is made up of journalism, a Rabelaisian grab-bag of a novel, seemingly slight poems and stories, a Jacobean revenge drama, and an alphabetic bestiary. -
Djuna Barnes Nightwood. a Modernist Exercise
ENRIQUE GARCÍA DIEZ UNIVERSIDAD DE VALENCIA DJUNA BARNES'NIGHTWOOD; A MODERNIST EXERCISE "On or about December 1910 human life changed." These now famous words of Virginia Woolf tried to reflect the consciousness of the speed of change at the beginning of the century. This sort of dramatic or prophetic gesture only revealed the intensity with which writers and artists of all kinds lived one of the most dynamic periods of hvunan history. James McFarlane and Malcom Bradbury go so far as to say that Modernism was one of those overwhelming dislocations in human perception which changed man's sensibility and man's relationship to history permanently. In its multiplicity and brilliant confusión, its commitment to an aesthetic of endless renewal, or as Irving Howe calis it, its improvisation of "the tradition of the new," Modernism is still open to analysis and to debate. Even if we are talking of Postmodernism and even Post-postmodernism, the period we are referring to now (first quarter of the century, roughly) does not have a single concrete and aesthetic reference. As a matter of fact, few ages been as múltiple and as promiscuous in their artistic cholees as was Modernism. Very often, though, the tendency to sophistication and mannerism, to introversión, and to technical display for its own sake and even internal scepticism have often been cited as essential in the definition of Modernism. And since the terms have a vague connotation, we will have to establish some kind of framework of reference or definition of the movement in order to move relatively safely in the analysis of a novel often mentioned as a masterpiece of modern aesthetics. -
Lowry's Reading
LOWRY'S READING An Introductory Essay W. H. New 1Ν TWO LARGE BOXES at the University of British Columbia are the remnants of Malcolm Lowry's library, a motley collection of works that ranges from Emily Brontë and Olive Schreiner to Djuna Barnes and Virginia Woolf, from the Kenyon, Partisan, and Sewanee Reviews to A Pocketful of Canada, from Latin Prose Composition to the Metropolitan Opera Guide, and from Elizabethan plays to Kafka and Keats. Little escaped his attention, in other words, and even such a partial list as this one indicates his eclectic and energetic insatiability for books. That he was also an inveterate film-goer and jazz en- thusiast, and that he absorbed and remembered everything he experienced, makes any effort to separate out the individual influences on his work an invidious one; rather like chasing a rabbit through Ali Baba's caves, the activity seems in- commensurate with its surroundings. But on frequent occasions an appreciation of the scope of his references or the source of a single allusion will take us closer to Lowry's tone and method. Richard Hauer Costa, for example, writing in the University of Toronto Quarterly in 1967, points out that "unacknowledged literary kinship" between Under the Volcano, Aiken's Blue Voyage, and Joyce's Ulysses: the central use of the quest theme, the burgeoning sense of remorse, the "impatience" of the author with usual narrative methods, and so on. The Consul's "garden scene" in Chapter Five thus becomes an analogue to Joyce's Nighttown episode, and Lowry's dislocation of time, his recognition of what Costa elsewhere calls the "weight of the past", relates to Joyce's and Proust's. -
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. -
European Journal of American Studies, Vol 1, No 1 | 2006 Overview of American Studies in Portugal 2
European journal of American studies Vol 1, No 1 | 2006 Spring 2006 Overview of American Studies in Portugal Publisher European Association for American Studies Electronic version URL: http://ejas.revues.org/432 DOI: 10.4000/ejas.432 ISSN: 1991-9336 Electronic reference Isabel Caldeira, « Overview of American Studies in Portugal », European journal of American studies [Online], Vol 1, No 1 | 2006, document 15, Online since 11 January 2006, connection on 30 September 2016. URL : http://ejas.revues.org/432 ; DOI : 10.4000/ejas.432 This text was automatically generated on 30 septembre 2016. Creative Commons License Overview of American Studies in Portugal 1 Overview of American Studies in Portugal 1 The practice of American Studies in Portugal evolved out of a philological tradition that might be seen in all of the courses taught at the five public Universities (Lisbon – Classic and New, Oporto, Coimbra, and Aveiro) and at the semi-private Catholic University until the Revolution of 1974. The following decade opened up new opportunities for the expansion of the field with the establishment of a few other public universities around the country (Évora, Minho, Algarve, Beira Interior, Trás-os-Montes e Alto Douro, Open University, Madeira and Azores) as well as several private institutions. 2 In undergraduate teaching, language and literature have been traditionally privileged areas, but linguistics and culture have gained ground within the curricula in the classic universities since the late 1970s. As a response to the present crisis in the Humanities, an effort is being made to appeal to a wider range of candidates. Changes are being implemented in the curricula and new courses are being offered. -
An Analysis of Djuna Barnes's Nightwood
Performance and Grief: An Analysis of Djuna Barnes’s Nightwood by Theresa Anita McCarron Gaumond, B.A. A Thesis Submitted to the Department of English California State University Bakersfield In Partial Fulfillment for the Degree of Masters of Arts Spring 2013 Copyright by Theresa Anita Gaumond 2013 This Thesis, "Performance and Grief: An Analysis ofDjuna Barnes's Nightwood" by Theresa Anita McCarron Gaumond, B.A. has been accepted on behalf of the Department of English by their supervisory committee: Dr. Kim Flachmann Dedication I wish to dedicate this thesis to the memories of Joseph Hill, Beverly Baker and Heather Bartek. Acknowledgements I would sincerely like to thank Dr. Ayuso and Dr. Flachmann for taking the time and energy to advise me. Both of them generously offered to assist me and their guidance has been integral to the creation of this paper. I am continually humbled by both of their dedication to the education of students. Since a project of this magnitude cannot be created in a vacuum, I need to graciously thank those who have served as a sounding board for my ideas: Lisbeth Tinocco, Nora Traut, Laura Peet, Darlene Stotler, Dave Ryan, Chris Dison, Jeff Eagan, and Monica Diaz-Padilla. Also, Kathy Hafler and Milissa Ackerley both were sources of encouragement. I also need to thank my co-tutors at the Bakersfield College Writing Center for the rabid debates on word choice. The epic discussion on “myriad” and “plethora” ensured that I would not use either word in this thesis. Special thanks are also directed to Shelia Youngblood for her cheerful willingness to serve as an editor. -
Djuna Barnes B
DJUNA BARNES b. June 12, 1892 d. June 18, 1982 AUTHOR “The truth is how you say it, and to be ‘one’s self’ is the most shocking custom of all.” Djuna Barnes was a prominent modernist writer known for her experimental style and edgy themes. Writers such as Truman Capote and Bertha Born in Cornwall-on-Hudson, New York, to a polygamist family, she was inspired to write by her grandmother, a feminist writer and journalist. As a child, Barnes was Harris have cited sexually abused by family members. In 1909, she was forced to marry her father’s Barnes as an inspiration brother-in-law. Two months later, she left him. for their works. In 1912, Barnes moved to Greenwich Village and began writing for magazines and newspapers. She had affairs with men and women. She wrote novels, including “The Book of Repulsive Woman: 8 Rhythms and 5 Drawings” and “Paprika Johnson.” She moved to Paris, where she lived with Thelma Wood, her lover and fellow artist. Barnes became involved in the Parisian lesbian community, which is depicted in her privately printed novel, “Ladies Almanack.” In 1931, after her relationship with Wood ended, Barnes relocated to England. She stayed in a country manor with other writers and literary critics. She wrote “Nightwood,” her best-known novel, which received attention for its stylistic excellence. So impressed by the book, T.S. Elliot wrote the introduction and became involved in its publication. “Nightwood” depicts desire between women and challenges the gender binary. In 1939, Barnes returned to New York, where she lived in relative solitude for the remainder of her life. -
Feminist Baroque Narratives in Interwar Atlantic Modernism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks@UMass Amherst University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses 5-8-2020 WRITING AGAINST HISTORY: FEMINIST BAROQUE NARRATIVES IN INTERWAR ATLANTIC MODERNISM Annaliese Hoehling Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Literature in English, Anglophone outside British Isles and North America Commons, Literature in English, British Isles Commons, and the Literature in English, North America Commons Recommended Citation Hoehling, Annaliese, "WRITING AGAINST HISTORY: FEMINIST BAROQUE NARRATIVES IN INTERWAR ATLANTIC MODERNISM" (2020). Doctoral Dissertations. 1932. https://scholarworks.umass.edu/dissertations_2/1932 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. WRITING AGAINST HISTORY: FEMINIST BAROQUE NARRATIVES IN INTERWAR ATLANTIC MODERNISM A Dissertation Presented by ANNALIESE D. HOEHLING Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2020 Department of English © Copyright by Annaliese D. Hoehling 2020 All Rights Reserved WRITING AGAINST -
The Imagery of Interior Spaces
the imagery of interior spaces Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la Open Access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) the imagery of interior spaces. Copyright © 2019 by the editors and au- thors. This work carries a Creative Commons BY-NC-SA 4.0 International li- cense, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http://creativecommons.org/licenses/by-nc-sa/4.0/ First published in 2019 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-950192-19-9 (print) ISBN-13: 978-1-950192-20-5 (ePDF) doi: 10.21983/P3.0248.1.00 lccn: 2019937173 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J.