karsten h. piep 2018 8a (jul-dec) 3 credit hours [email protected] (513) 421-0551

HMS 801 THE ART OF PROTEST

Rachel Romero, Protest Chilean Junta (1975), Library of Congress.

“Protest Literature says to the reader, have hope—you are not alone. And if it does nothing but that, it has done something profoundly important.” —Howard Zinn

SEMINAR DESCRIPTION

Throughout human history, social protest, conflict, and political struggle have been constants. Among the first written examples of social protest on record is Aristophanes’ comedy, Lysistrata (411 BC), in which the women of Athens collectively refuse their husbands until these cease to engage in endless warfare. The play is commonly read as an outcry against the Peloponnesian War (431-404 BC) that destroyed ancient Greece. Other early instances of social protest and outright rebellion include Plutarch's fairly sympathetic depictions of the Sparatcus Rebellion in ancient Rome (73-70 BC), the New Testament’s accounts of the life of Jesus Christ—no doubt one of the most influential social reformers in history—and the “heretical” 14th-century treatises by John Wycliffe and Jan Huss, as well as the Ninety-Five Theses posted in 1517 on the door of the Castle Church of Wittenberg by a renegade monk called Martin Luther.

With the onset of the Enlightenment and, later, large-scale industrialization in Europe, social protest in all its forms and varieties became a staple of modern politics. In the US American HMS 801: The Art of Protest 2 context, the wrtings of Thomas Paine, the Declaration of Independence as well as subsequent “Declarations of Independence” by William Apess on behalf of the Cherokee and David Walker on behalf of African Americans tesify to this—as do more recent examples such as Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852), Ida B. Wells’s Southern Horrors (1892), Upton Sinclair’s The Jungle (1906), Jane Addams’s “Why Women Should Vote” (1910), John Steinbeck’s The Grapes of Wrath (1939), Richard Wright’s 12 Million Black Voices (1941), Allen Ginsberg’s “Howl” (1956), Rachel Carson’s Silent Spring (1962), Martin Luther King’s “Letter from Birmingham Jail” (1963), and Betty Friedan’s The Feminine Mystique (1963).

Through a series of brief and highly selective case studies, this interdisciplinary seminar invites participants to explore the rich traditions of protest literature in the United States, India, South Africa, and other regions of the world. Using a broad definition of “protest literature,” our course focuses on the production and consumption of dissent as a site of progressive social critique, using a wide variety of print, visual, and oral forms. We will examine the historical links between modes of protest and meanings of literature, and explore how various expressions of dissent function as aesthetic, performative, rhetorical, and ideological texts within specific cultural contexts. Moreover, taking a sociological bend, we will investigate the underlying causes and sources of protest as well as its ultimate impact on society at large. Race, gender and class will serve as a critical prism to gauge the complexities of individual motivation, policy impact and societal change. Individual and collective actions that constitute the disruption of the status quo will be analyzed and drawn from historical cases such as late 19th-century protests against poverty, the Indian struggle for liberation from colonial rule, and the anti-Apartheid movement. Our “readings” include novels, poetry, speeches, short stories, pamplets, photographs, posters, films, music, and more.

INTEGRATION OF PROGRAM THEMES

Hardly any act of expression and representation is closer intertwined with the goals of exposing and rectifying perceived social wrongs than social protest art and literature. As this seminar will show, though, the art of social protest is not merely bound up with the efficacy of its aesthetic, rhetorical, and performative appeals. Equally important is the protesters’ attentiveness to the views and wants of others. For as Rosa Luxemburg famously reminded Vladimir Illyich Lenin, “Freedom is also always the freedom of the one who thinks differently.” This attentiveness to difference—not coincidentally a foundational theme of the Ph.D. Program in Interdisciplinary Studies—will help us to critically reflect on the aims and methods of various forms of social protest by raising crucial questions such as which injustices are being exposed, which social ills are being tolerated, and whose interests are ultimately being served. Moreover, bearing in mind Howard Zinn’s observation that social protest literature “works on the supposition that social change comes through the combined and cumulative actions of many people, even if they do not know one another or are not aware of one another’s existence,” we will analyze, assess, and critique individual expressions of protest within their larger cultural and socio-historical contexts.

INDIVIDUALIZED LEARNING

Protest as such is one of the most basic forms of human expression and thus applies to all subject matters and fields of study, not just literature, philosophy, religion, or history. In 1945, for example, a group of theoretical physicists, headed by Albert Einstein, made headlines by protesting against the proliferation of nuclear weapons, and in 2002, Time magazine named three businesswomen “Persons of the Year” for having blown the whistle on Enron’s corruption schemes. More recently, in the wake of the so-called "Arab Spring" and the Occupy Wall Street

HMS 801: The Art of Protest 3 movement, Time magazine declared "The Protester" person of the year. Thus, both the research and the analytical/critical/creative assignment components of this seminar offer participants ample opportunities to apply new insights gained to their individual intellectual and practical pursuits.

LEARNING OUTCOMES AND COMPETENCIES

HMS 801 pays particular attention to UI&U Doctoral Learning Outcome II: Critical and Creative Thinking as well as Ph.D. Program outcomes V.iii and V.iv that require students to “situate scholarly and creative work within the relevant literature, debates, and artistic expressions of the field(s)” and to “offer creative interpretations of data, texts, artifacts, performances that bridge personal insights and scholarly debates.”

In addition, by the end of this seminar participants will be able to:

 Identify and describe some of the mechanisms and circumstances that lead to the formation of social protest movements.  Identify and describe various forms of social protest as well as their generic, aesthetic, and rhetorical characteristics.  Critically assess and evaluate the achievements and shortcomings of various forms of social protest, before the backdrop of specific socio-historical moments and with an eye towards the difficulties of negotiating preferred methods and desired outcomes across race, class, and gender lines.  Evince the ability to engage in sustained and comprehensive research (bibliographically, quantitatively, qualitatively, or otherwise) and to present their findings in a coherent, expressive, and persuasive manner.  Reflect on and creatively/critically apply (synthesize) methods and philosophies of social protest to their own particular work in the areas of leadership, public policy, and/or the humanities.

ASSIGNMENTS, PROCEDURES, EVALUATION, AND GRADING

CLOSE READING RESPONSES (CRR): To facilitate the close reading of and critical engagement with texts, seminar participants will be divided into two groups and post altogether four reading responses. These responses should be between 300 and 600 words long (1-2 double-spaced pages) and contain specific references to and/or quotes from the text under discussion. Rather than attempting to summarize an entire reading, the responses should focus on one idea, theme, or issue and pursue it in greater depth, recording comments or criticisms, and raising questions.

BRIEF COMMENTS (BC): In order to allow for group discussions, seminar participants who are not posting their close reading response will post one or more brief comments on one or more of the responses. The length of these comments may vary from a few lines to an entire paragraph.

Early on in the semester, participants will submit a 1-2 page PROPOSAL, in which they outline their projects, relate them to the pertinent issues of the seminar, state their research questions, and describe their research plans. Two weeks later, participants will provide a PRELIMINARY BIBLIOGRAPHY that lists relevant texts and/or research in their fields of study. This list, then, will be expanded into an ANNOTATED BIBLIOGRAPHY (20 entries minimum) that briefly summarizes key arguments and/or findings in the field.

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Based upon their annotated bibliographies, participants will produce a 5-8 page LITERATURE REVIEW that succinctly describes the state of research in the field by highlighting areas of agreement and disagreement, suggesting possibilities of synthesis, raising questions, and pointing out the direction of future research. During this process, participants will probably want to revise and/or refine their initial theses and approaches.

Participants have three options for their RESEARCH PROJECT. (1) A more or less traditional 20- 25 page research paper that, building upon the literature reviews, identifies and carefully analyzes one or more examples of social protest in the arts or literature and advances a well- supported, original argument that advances the ongoing debate within the field. (2) A 20-25 page field research paper that, building upon the surveyed literature, makes an original contribution to the field by presenting, analyzing, and discussing data collected from subjects. (3) A creative project that, building upon the literature review, presents new insights or arguments in the form of an original play, a short story, a film, or a painting. There are no length requirements for this option, but learners opting for the creative assignment will be asked to add a 4-6 page essay or statement that describes, justifies, and contextualizes their own work vis-à-vis other works and the socio-historical context from which it arose.

After participants have submitted the 1ST DRAFT of their RESEARCH PROJECTS, they will begin working on a presentation of their work. The format of the presentation is open and may entail putting together a PowerPoint presentation, using pod- or videocasts, preparing a website, etc. The only limitations are (1) that the presentation has to communicate the entire breadth and depth of the research study (including a survey of the state of research in the field) and (2) that the presentation is shareable through CampusWeb.

The presentations will remain posted for a minimum of two weeks, during which seminar participants as well as the instructor will CRITIQUE (peer review) each project. The critiques will be put in writing and emailed directly to the presenter, while a carbon copy goes to instructor as well. These critiques will assist participants in making additional revisions and adjustments, before submitting the FINAL PROJECT.

RESIDENCY, MID-SEMESTER BREAK, AND VIRTUAL MID-SEMESTER RESIDENCY

RESIDENCY: July 1-8 at the Kingsgate Marriot Hotel in Cincinnati, Ohio. The week following the Residency, July 10-16, no written assignments (papers or discussion posts) are due, but it is expected that students will remain actively engaged in course readings as required by the instructor.

MID-SEMESTER BREAK: No written assignments (papers or discussion posts) are due September 10-16, but it is expected that students will remain actively engaged in course readings as required by the instructor.

VIRTUAL MID-SEMESTER RESIDENCY (MSR): . Workshops, Friday, September 21, 7:00 – 9:00 PM ET. . Social Justice Presentation, Saturday, September 22, 11:00 AM – 1:00 PM ET. . Concentration Meetings, Saturday, September 22, 1:15 -2:15 PM ET. . Workshops, Sunday, September 23, 3:00-5:00 PM ET.

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REQUIRED TEXTS, NOTES, AND SUPPLEMENTARY MATERIAL

La Guma, Alex. A Walk in The Night and Other Stories. Boston: Northwestern University Press, 1968. Rao, Raya. Kanthapura. New York: New Directions Publishing, 1967.

All of the remaining texts listed below can be accessed electronically via direct links through Union Institute & University’s library, an e-reserve depository, or public internet sites. Additional texts, lecture notes, handouts, assignments, sample papers, et cetera will be made available through the HMS 801 CampusWeb site.

ADA COMPLIANCE INFORMATION

Union Institute & University is committed to providing equal access to its academic programs and resources for individuals with disabilities. Information on ADA policies and services is located on UI&U’s public website: https://myunion.edu/current-students/student- services/disability-services/.

ACADEMIC INTEGRITY

Union Institute & University’s Academic Integrity policy can be found on Campus Web at https://campusweb.myunion.edu/ICS/icsfs/Academic_Integrity_Policy.pdf?target=9ccd7549- 1590-445f-876e-a959b1724c31.

THE WRITING CENTER

Union Institute & University’s Writing Center offers self-help resources and free one-on-one tutoring sessions over the phone for all students. Tutoring sessions are available mornings, afternoons, evenings and weekends. Self-help resources are located at http://www.myunion.edu/writing-center. Appointments for tutoring by telephone can be scheduled through the writing center’s CampusWeb group or by contacting the center (phone: 513-487-1156 or toll free: 1-800-861-6400 ext. 1156 or email: [email protected]).

GRADING SCALE AND SATISFACTORY ACADEMIC PROGRESS (SAP)

Grading, SAP and Financial Aid Policies can be found in the University Catalog: http://myunion.edu/academics/catalog/.

Students in the Cohort PhD Program must make satisfactory academic progress every term. This means that students must earn at least a cumulative GPA of 3.0 or S. Students must also successfully complete at least 67% of cumulative credits attempted. For example, if a student has attempted 60 credit hours during enrollment, he/she must successfully complete 40 or more of those hours. Student completion rates are reviewed at the end of each term of attendance. Grades of U, W, I, V, NE and WIP adversely affect a student‘s completion rate because they are calculated as attempted but not completed. This can cause a student’s completion rate to drop below 67%. This may result in the student not meeting the SAP requirement facing possible academic and financial aid probation and/or dismissal from the program. Grades of C or U adversely affect the student’s GPA and academic standing in the program. A

HMS 801: The Art of Protest 6 special review will be initiated if a student receives a C, U or two or more incomplete (I) grades.

Grading Scale Grade Criteria A Academic work reflects impressively thorough and accurate knowledge of assigned material, including the complexities and nuances of major and minor theories, concepts, and intellectual frameworks; exceptional evidence of capability to compare, assess, and synthesize material; especially strong capability to logically critique extant theories and claims and to develop persuasive arguments based on original thinking. 4.0 Quality Points A- Criteria for A work not fully met. 3.70 Quality Points B+ Criteria for B work is more fully met. 3.30 Quality Points B Academic work reflects accurate grasp of major concepts, theories, and prevailing knowledge; abundant evidence of capability to offer informed analysis of extant knowledge and ideas; clear capability to synthesize and apply key information from prevailing knowledge; appropriate critiques of extant theories and knowledge; considerable demonstration of capability to develop and logically present own judgments. 3.0 Quality Points B- Criteria for B work is not fully met. 2.70 Quality Points C+ Criteria for C work is more fully met. 2.30 Quality Points C Academic work reflects adequate familiarity with key ideas and knowledge, although interpretations of key theories and concepts are occasionally incomplete and flawed; written and verbal accounts of information, theories, and concepts remain primarily at the level of description; critiques are present but not well developed with occasional interpretive errors. 2.0 Quality Points S Academic work reflects satisfactory completion of all prescribed learning and is equivalent to B or better at the doctoral level on a standard letter grading scale. The S grade is used only for ACS 897, ECL/HMS/PPS 841, 850, 860, MLK 800, MLK 890 and RSCH 900 Dissertation. 0.00 Quality Points and does not calculate into the GPA U Academic work reflects insufficient capability to comprehend and accurately present ideas and information; superficial and unpersuasive critiques; little evidence of capability for original thinking. Unsatisfactory performance is defined as any performance less than C at the doctoral level. A U grade should be given only on the basis of less than satisfactory work and should not be given because a student has not been present in a seminar (in such a case a V grade should be given). 0.0 Quality Points W Withdrawal: Student initiated withdrawal from a seminar or the program. Withdrawal from the program discontinues connection to university passwords and accounts. I Incomplete: Student completes at least 60% of work in a seminar but less than

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100% of the required work in a seminar. NE Never Engaged: An NE grade will be assigned during the first 21 days of each term for a student who neither attends nor engages in a registered seminar (including the residency sessions). V Vanished: A V grade will be assigned six weeks after the beginning of a term by the Dean’s Office, or during end-of-term grading by a faculty member for a student who attends/engages in a registered seminar (including the residency sessions) but subsequently ceases to attend/engage in the seminar and does not officially withdraw from the seminar. WIP (No No Grade: Faculty member has not submitted a grade for a student. grade) Repeated Students are permitted to repeat any seminar once after receiving a U. The last Seminar grade earned is calculated in the GPA. Successful A grade of A through C or S is considered successful seminar completion. Completion

Special Note Regarding Incompletes:

Students must have approval from the seminar faculty member to receive an incomplete for the term. If this approval is not requested and approved, the student will receive a W (withdrawal) or V (vanished), depending on the circumstances in regard to attendance in the seminar. In other words, incompletes are not automatic and students should not assume that they can take incompletes at will. All incomplete work for a current term should be submitted by May 15 or November 15 of the following term. It is always best for students to stay in communication with faculty members and to try to get all the work done for the term by the deadline. Students and faculty members should explore all options together before deciding that the incomplete route is the one to take.

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Tentative Schedule

I. The Art of Protest (Academic Residency)  Please read all assigned readings below prior to our residency meetings.

July 2: Social Movements and Culture (2:30 – 4:30 PM) Eyerman, Ron and Andrew Jamison. “On Social Movements and Culture.” Music and Social Movements: Mobilizing Traditions in the 20th Century. New York: Cambridge University Press, 2007. 6-25. Direct Link Frank, Thomas. “Why Johnny Can’t Dissent.” Commodify Your Dissent: Salvos from the Baffler. Eds. Thomas Frank and Matt Weiland. New York: Norton, 1997. 31-45. Direct Link Jasper, James M. “The Emotions of Protest: Affective and Reactive Emotions in and Around Social Movements” Sociological Forum 13.3 (1998): 397-424. Direct Link Miles, Malcolm. “Farewell to Revolution.” Cultural Politics 10.2 (2014): 239-49. Direct Link

July 3: Second Session: Protest Art (2:30 – 4:30 PM) Drake, Kimberly. “The Violence in / of Representation: Protest Strategies from Slave Narrative to Punk Rock.” Pacific Coast Philology 44.2 (2009): 148-58. Direct Link Edelman, Murray. “The Cardinal Political Role of Art.” From Arts to Politics: How Artistic Creations Shape Political Conceptions. Chicago, IL: Chicago UP, 1995. 1-14. Direct Link Trodd, Zoe. “A Negative Utopia: Protest Memory and the Spatio-Symbolism of Civil Rights Literature and Photography.” African American Review 42.1 (2008): 25-40. Direct Link Lorde, Audre. "The Transformation of Silence into Language and Action." Sister Outsider. Berkeley, CA: Crossing Press, 1984. 40-44. Direct Link Moore, Robert H. “On Initiation Rites and Power: Ralph Ellison Speaks at West Point.” Contemporary Literature 15.2 (1974): 165-86. Direct Link Rich, Adrienne. “Credo of a Passionate Skeptic,” Los Angeles Times (Sunday March 11, 2001). Direct Link

July 4: The Problem with Protest Novels (2:30 – 4:30 PM)  Happy Independence Day! Baldwin, James. “Everybody’s Protest Novel.” Notes of A Native Son. Boston: Beacon Press, 1955. 12-23. Direct Link Mathis, Ayana and Pankaj Mishra. "James Baldwin Denounced Richard Wright's 'Native Son' as a 'Protest Novel.' Was He Right?" The New York Times Book Review 1 Mar. 2015: 31. Direct Link Stowe, Harriet Beecher. "Chapter 25 - The Little Evangelist." Uncle Tom’s Cabin. Direct Link Trodd, Zoe. “Introduction.” American Protest Literature.” Cambridge, MA: Harvard UP, 2006. Xix-xxix. Direct Link Wright, Richard. Excerpt from Native Son. Direct Link ---. “How Bigger Was Born.” Direct Link Reynolds, David S. “Did A Novel Start the Civil War?” New York Times Upfront 144.8 (2012): 24-27. Direct Link Williams, Dana A. “Everybody's Protest Narrative: Between the World and Me and the Limits of Genre.” African American Review 49.3 (2016): 179-183. Direct Link

 Further Readings:

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Alvin, Joseph. Red Power: The American Indians’ Fight for Freedom. Lincoln: U of Nebraska P, 1999. Boucher, David and Gary Browning, eds. The Political Art of Bob Dylan. New York: Palgrave, 2004. Carroll, Anne E. Word Image and the New Negro: Representation and Identity in the Harlem Renaissance. Bloomington: Indiana UP, 2005. Davis, Joseph E., ed. Stories of Change: Narratives and Social Movements. Albany: State U of New York P, 2002. Frank, Thomas Frank and Matt Weiland, eds. Commodify Your Dissent: Salvos from The Baffler. New York: Norton, 1997. Hamilton, Neil A. Rebels and Renegades: A Chronology of Social and Political Dissent in the United States. New York: Routledge, 2002. Jasper, James. The Art of Moral Protest: Culture, Biography, and Creativity in Social Movements. Chicago: U of Chicago P, 1997. King, David and Cathy Porter. Images of Revolution: Graphic Art from 1905 Russia. New York: Pantheon Books, 1983. McQuiston, Liz. Suffragettes to She-Devils: Women's Liberation and Beyond. London: Phaidon Press, 1997. Morris, Charles and Stephen H. Brown, eds. Readings on the Rhetoric of Social Protest. State College, PA: Strata, 2001. Netzler, Patricia. Social Protest Literature: An Encyclopedia of Works, Characters, Authors, and Themes. Santa Brabara, CA: ABC-CLIO, 1999. Peddie, Ian. The Resisting Muse: Popular Music and Social Protest. Burlington, VT: Ashgate, 2006. Platt, Susan Noyes. Art & Politics in the 1930's: Modernism -- Marxism -- Americanism. A History of Cultural Activism During the Depression Years. New York: Midmarch Arts Press, 1999. Poletta, Francesa. It was Like a Fever: Storytelling in Protest and Politics. Chicago: U of Chicago P, 2006. Reed, Thomas V. The Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle. Minneapolis: U of Minnesota P, 2005. Schnapp, Jeffrey. Revolutionary Tides: The Art of the Political Poster, 1914-1989. New York: Rizzoli, 2005. Shulman, Robert. The Power of Political Art: The 1930s Literary Left Reconsidered. Chapel Hill: U of North Carolina P, 2000. Toll, Nelly. Without Surrender: Art of the Holocaust. Philadelphia: Running Press, 1978. Trodd, Zoe, ed. American Protest Literature. Cambridge, MA: Harvard UP, 2008. Von Blum, Paul. The Critical Vision: A History of Social and Political Art in the US. Boston: South End Press, 1982. Waldman, Anne and Lisa Birman. Civil Disobedience: Poetics and Politics in Action. Minneapolis: Coffee House Press, 2004. Waller, Jennifer R., ed. Frontline Feminism: Women, War, and Resistance. New York: Garland, 2000. Winn, Sharon A. and Joseph A. Kestner, eds. The Slaughter-House of Mammon: An Anthology of Victorian Social Protest Literature. West Cornwall, CT: Locust, 1992.

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II. Cultures of Resistance

ASSIGNMENTS: Post Close Reading Response(s) (CRR) Post Brief Comment(s) on Close Reading Responses (BC) Participate in Conference Call Submit Tentative Proposal by 08/18

07/22 - 07/28 Read & respond to Eagleton and Sinclair (CRR Group I) 07/29 - 08/04 Read & respond to Certeau and Scott (CRR Group II) 08/05 - 08/11 Read Sharp and Marcuse 08/12 - 08/18 Read Foucault and Medina (Conference Call TBD)

Required Readings: Certeau, Michel de. The Practice of Everyday Life. Berkley, CA: U of California P, 1984. xi-xxiv and 91-110. Direct Link Eagleton, Terry. “The Ideology of the Aesthetic.” Poetics Today 9.2 (1988): 327-38. Direct Link Foucault, Michel. “Lecture Four, 28 January 1976.” Society Must be Defended: Lectures at the College de France, 1975-1976. Eds. Mauro Bertani and Alessandro Fontana. New York: Picador, 2003. 65-86. Direct Link Marcuse, Herbert. “Subverting Forces—In Transition.” An Essay on Liberation. Boston: Beacon Press, 1969. 49-78. Direct Link Medina, José. “Toward a Foucaultian Epistemology of Resistance: Counter-Memory, Epistemic Friction, and Guerrilla Pluralism.” Foucault Studies 12 (2011): 9-35. Direct Link Sharp, Gene. “The Role of Power in Nonviolent Struggle.” Arab Nonviolent Political Struggle in the Middle East. Eds. Ralph Crow, Philip Grant, and Saad E. Ibrahim. Boulder, CO: Lynne Rienner, 1990. 18-31. Direct Link Sinclair, Upton. “Who Owns the Artist?” Mammonart. San Diego: Simon, 1924. 7-10. Direct Link Scott, James C. “Behind the Official Story.” Domination and the Arts of Resistance: Hidden Transcripts. New Haven: Yale UP, 1990. 1-44. Direct Link

Further Readings: Bedau, Hugo Adam. Civil Disobedience: Theory and Practice. New York: Pegasus, 1969. Fırat, Begüm Özden and Aylin Kuryel, Eds. Cultural Activism: Practices, Dilemmas, and Possibilities. New York: Rodopi, 2011. Fox, Richard G. & Orin Starn, eds. Between Resistance and Revolution: Cultural Politics and Social Protest. New Brunswick, NJ: Rutgers UP, 1997. Jasper, James and Jeff Godwin. The Social Movements Reader: Cases and Concepts. New York: Blackwell, 2003. Jenkins, Craig and Bert Klandermas, eds. The Politics of Social Protest: Comparative Perspectives on States and Social Movement. Minneapolis: U of Minnesota P, 1995. Kolb, Felix. Protest, Opportunities, and Mechanisms: A Theory of Social Movements and Political Change. Chicago: U of Chicago P, 2007. Mansbridge, Jane amd Aldon Morris. Oppositional Consciousness: The Subjective Roots of Social Protest. Chicago: U of Chicago Press, 2001. Meyer, David. The Politics Of Protest: Social Movements In America. New York: Oxford UP, 2001. Norman, Brian. The American Protest Essay and National Belonging. Albany: State U of New York P, 2007. Scott, James C. Domination and the Arts of Resistance: Hidden Transcripts. New Haven,

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CT: Yale UP, 1990. ---. Weapons of the Weak: Everyday Forms of Peasant Resistance. New Haven, CT: Yale UP, 1985. Tilly, Charles. Social Movements, 1768 – 2004. London: Paradigm, 2004. Williams, Raymond. Marxism and Literature. New York: Oxford UP, 1977

III. Case Study 1: Exposing Poverty in Turn-of-the-Century America

ASSIGNMENTS: Post Close Reading Response(s) Post brief comment(s) on Close Reading Responses Submit Preliminary Bibliography by 09/08

08/19 - 08/25 Read & respond to Davis and Schokett (CRR Group I) 08/26 - 09/01 Read & respond to Garland, George, and Teorey (CRR Group II) 09/02 - 09/08 Read & respond to Howells and Voparil 09/09 - 09/15 Mid-Semester Break  09/16 - 09/22 Read & respond to Riis and Ryan

Mid-Term Residency Dates  Social Justice Presentation, Saturday, September 22, 11:00 AM – 1:00 PM ET  Concentration Meeting, Saturday, September 22, 1:15-2:15 PM ET  Workshops, September 21 and 23

Required Readings: Primary Texts Davis, Rebecca Harding. Life in the Iron Mills (1863). Direct Link Garland, Hamlin. “Under the Lion’s Paw” (1891). Direct Link George, Henry. From Progress and Poverty (1879). Direct Link Howells, William Dean. “The Midnight Platoon” (1902). Direct Link Riis, Jacob. How the Other Half Lives (1890). Direct Link

Secondary Sources Teorey, Matthew. “Escaping the Lion's Paw: Jungle Cat Imagery and Late-Nineteenth-Century Political Reform.” ANQ 19.1 (2006): 42-47. Direct Link Ryan, Susan M. “‘Rough Ways and Rough Work’: Jacob Riis, Social Reform, and the Rhetoric of Benevolent Violence.” ATQ 11.3 (1997): 191-206. Direct Link Schoket, Eric. “‘Discovering Some New Race’: Rebecca Harding’s ‘Life in the Iron Mills’ and the Literary Emergence of Working-Class Whiteness.” PMLA 115.1 (2000): 46-59. Direct Link Voparil, Christopher. “Jonquils and Wild Orchids: James and Rorty on Politics and Aesthetic Experience.” The Journal of Speculative Philosophy 23.2 (2009): 100-10. Direct Link

Further Readings: Claybaugh, Amanad. The Novel Of Purpose: Literature and Social Reform in the Anglo- American World. Ithaca: Cornell UP, 2007. Gandal, Keith. The Virtues of the Vicious: Jacob Riis, Stephen Crane, and the Spectacle of the Slum. New York: Oxford UP, 1997. Hood, Richard A.. “Framing a `Life in the Iron Mills.'.” Studies in American Fiction 23.1 (1995): 73-84. Johnston, Carolyn. Jack London—An American Radical? Westport: Greenwood Press, 1984.

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Miles, Caroline. “Representing and Self-Mutilating the Laboring Male Body: Re-examining Rebecca Harding Davis's ‘Life in the Iron Mills.’” ATQ 18.2 (2004): 89-104. Petrie, Paul R. Conscience and Purpose: Fiction and Social Consciousness in Howells, Jewett, Chesnutt, and Cather. Tuscaloosa: U of Alabam P, 2005. Pfaelzer, Jean. Palor Radical: Rebecca Harding Davis and the Origins of American Social Realism. Pittsburgh: U of Pittburgh P, 1996. Photinos, Christine. “Tracking Changes in Jack London's Representation of the Railroad Tramp.” The Journal of American Culture 30.2 (2007) 175-87. Trachtenberg, Alan. Reading American Photographs: Images as History. New York: Hill & Wang, 1989. Watson, William L. “'These Mill-Hands are Gettin' Onbearable': The Logic of Class Formation in Life in the Iron Mills by Rebecca Harding Davis.” Women's Studies Quarterly 26.1/2 (1998): 116-136. Weinstein, Cindy. “How Many Others are There in the Other Half? Jacob Riis and the Tenement Population.” Nineteenth-Century Contexts 24.2 (2002): 195-217.

IV. Case Study 2: Indian Nationalism and the Struggle for Independence

ASSIGNMENTS: Post Close Reading Response(s) Post Brief Comment(s) on Close Reading Responses Participate in Conference Call Submit Annotated Bibliography by 10/06

09/23 - 09/29 Read Defying, Gandhi, Ghadar, Singh, Rao (part I) (CRR Group I) 09/30 - 10/06 Read Rao (part II), Mondal, and Sterne (CRR Group II) (Conference Call TBD) Required Readings: Primary Texts “Clarion Call for the Ghadar Army” (1917). Direct Link Gandhi, Mohandas. “The Doctrine of the Sword” (1920). Direct Link ---. “Quit India” (1942). Direct Link “Poetry from the Pages of Ghadar Di Goonj” (1916-19). Direct Link Rao, Raja. Kanthapura (1938). Singh, Bhagat. “On the Slogan of ‘Long Live Revolution’” (1929). Direct Link

Secondary Sources Mondal, Anshuman. “The Ideology of Space in Raja Rao’s Kanthapura.” The Journal of Commonwealth Literature 34 (1999): 103-14. Direct Link Sterne, Richard C. “Civil Disobedience, Violence, and‚ Colonial Justice in Two Indian Novels.” The Legal Studies Forum 24.3-4 (2000): 527-48. Direct Link

Further Readings: Gandhi, Mohandas. Essential Writings. Ed. John Dear. New York: Orbis, 2002. Gupta, Amit Kumar. “Defying Death: Nationalist Revolutionism in India, 1897-1938.” Social Scientist 25.9/10 (1997): 3-27. Guzman, Richard R. “The Saint and the Sage: The Fiction of Raja Rao.” The Virginia Quarterly Review 56 (1980): 32-50. Jamkhandi, Sudhakar Ratnaka. "Raja Rao: A Selected Checklist of Primary and Secondary Material.” The Journal of Commonwealth Literature 16 (1981): 132-141. Masselos, Jim. Indian Nationalism: A History. Elgin, IL: New Dawn Press, 2005.

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Naik, M. K. “Kanthapura: The Indo-Anglian Novel as Legendary History.” Journal of the Karnatak University 10.2 (1966): 26-39. Nehru, Jawaharlal. The Unity of India: Collected Writings. London: Drummond, 1948. ---. Toward Freedom. London: Oxford UP, 1992. Singh, Bhagat. The Fragrance of Freedom : Writings of Bhagat Singh. Eds. K.C. Yadav and Babar Singh. Gurgaon: Hope India Publications, 2006

V. Case Study 3: Anti-Apartheid Protest in Black and White

ASSIGNMENTS: Post Close Reading Response(s) Post Brief Comment(s) on Close Reading Responses Participate in Conference Call Submit Literature Review by 10/28 Begin Drafting your Research Project

10/07 - 10/13 Read & respond to Gordimer, Mandela, and Schroth (CRR Group I) 10/14 - 10/20 Read & respond to La Guma, JanMohamed, and Nwagbara (CRR Group II) 10/21 - 10/27 Research and Writing Week 10/28 - 11/03 Watch Cry Freedom; read Nixon, and Solop (Conference Call TBD)

Required Readings: Primary Texts: Cry Freedom (1987), Dir. Richard Attenborough. Gordimer, Nadine. “A Chip of Glass Ruby” (1965). Direct Link La Guma, Alex. A Walk in The Night (1962). Mandela, Nelson. “Black Man in a White Court” (1962). Direct Link ---. “Our Struggle Needs Many Tactics” (1958). Direct Link

Secondary Sources: JanMohamed, Abdul R. "Alex La Guma: The Literary and Political Functions of Marginality in the Colonial Situation." boundary 2 11.1/2 (1982/1983): 271-90. Direct Link Nixon, Rob. “Cry White Season: Apartheid, Liberalism, and the American Screen.” South Atlantic Quarterly 90.3 (1991): 499-529. Direct Link Nwagbara, Uzoechi. “Arresting Historical Violence: Revolutionary Aesthetics and Alex La Guma's Fiction.” Journal of Pan African Studies 4.3 (2011):114-21.Direct Link Schroth, Evelyn. “Nadine Gordimer’s ‘A Chip of Glass Ruby’: A Commentary on Apartheid Society.” Journal of Black Studies 17.1 (1986): 85-90. Direct Link Solop, Fredric. "Public Protest and Public Policy: The Anti-Apartheid Movement and Political Innovation." Policy Studies Review 9.2 (1990): 307-26. Direct Link

Further Readings: Clingman, Stephen. The Novels of Nadine Gordimer: History from the Inside. New York: Rutledge, 1990. Gurleena, Mehta. Apartheid Fiction. New Delhi: Commonwealth Publishers, 1990. Mandela, Nelson. In His Own Words. Eds. Kader Asmal, David Chidester, and Wilmot James. New York: Little, Brown, 2003. ---. Long Walk to Freedom. Boston: Black Bay Books, 1995. Mason, Andy. “‘Black and White in Ink:’ Discourses of Resistance in South African Cartooning.” African and Asian Studies 1.4 (2002): 385-406. Nahem, Yousaf. Alex Guma: Politics and Resistance. Portsmouth, NH: Heinemann, 2001.

HMS 801: The Art of Protest 14

Pointer, Fritz. A Passion to Liberate: La Guma’s South Africa, Images of District Six. Trenton, NJ: Africa World Press, 2001. Temple-Thurston, Barbara. Nadine Gordimer Revisted. New York: Twayne, 1999.

VI. Researching, Presenting, Analyzing, Critiquing, and Applying Forms of Social Protest

ASSIGNMENTS: Submit 1st Draft of Research Project by 11/17 Post Presentation by 11/18 Critique Presentations Through 12/01 Submit Revised Seminar Project by 12/03

11/04 – 11/17 Preparation Week 11/18 - 11/24 Presentations and Critiques 11/25 – 12/01 Presentations and Critiques 12/03 Revised Seminar Project Due