Literary+Theories

= ** Quiz #1 – EMAT 645 ** =

1a. Since we will teach classic literature, students need the background knowledge relating to the subject matter of the literature to fully interpret. All literature is a reflection of the current events or history of the time in which it is composed. Therefore, a debriefing of the historical time in which the literature is written is critical to comprehension. Moreover, being introduced to the language used in unfamiliar work is imperative for a student to connect to new subject matter. Students also need background knowledge to connect or absorb to new knowledge. Teachers must set up a pre-knowledge base or information structure in order for foreign concepts and texts to adequately be received. Providing this overview equips students with the base knowledge needed to connect to new knowledge of Old, Middle and Modern English authors and their works.

1b. Integrating lecture with whole-class discussion will be my initial approach to cover this overview. Once we have a round understanding of the overview, I will introduce an in-class group work to saturate their understanding. We will end the overview with another class discussion to seal the knowledge prior to the introduction of the literary works. I will teach this overview in parts applicable to the literature we are tackling. For instance, when we are covering Old English works, only the Old English portion of the overview with be covered. When we are about to engage with Middle English works, I will only teach the Middle English overview section. I will repeat the same approach for the following period. This way, students will experience congruency with the period and the literature. The will not be laden with information not directly connected to the current text learning. I believe this approach will be a more effective format for optimal understanding and focus.

1c. Saussure’s words are definitely applicable to the modern approach of grammar and usage instruction. When I was in high school, my instructors taught grammar and usage as an isolated entity within language arts. Our grammar lessons were drills over usage rules with no means to exercise the knowledge learned. It was solely memorization. I will not adopt this antiquated method in my language arts class. In order for students to grasps the grammar, they must do grammar. This cannot be achieved by teaching grammar in isolation. I will integrate grammar throughout my class. We will cover the rules of grammar and usage in conjunction with composition lessons and indentify usage within literary works. This interweaving approach will strengthen their usage skills and make grammar a working part of their language arts experience.

2.


 * ** Critical Questions for Richard Wrights’s “Native Son” ** ||
 * [[image:http://kathrynpatricebailey.wikispaces.com/site/embedthumbnail/placeholder?w=200&h=590 width="200" height="590"]]** SCHOOL OF LITERARY CRITICISM ** ||  **QUESTIONS**  ||
 * Moral/philosophical || ● What or who should be considered the culprit for Bigger’s fate: the segregated society he lives in, the ill-fated persistence for kinship Mary placed on him or pressure from his mother to provide for the family? ||
 * Historical/biographical || ● What social influences foster Bigger’s panic that leads to the death of Mary Dalton? ||
 * Formalist || ● How are tension, irony and imagery showcased in this novel? ||
 * Rhetorical || ● Which character is the author attempting to place the reader’s greatest sympathies or compassions? ||
 * Freudian || ● Since the writer and Bigger have similar life experiences with Jim Crow, what does this novel imply about the emotionally or mental state of the author and his rationale for writing it? ||
 * Archetypal || ● The theme of lost innocence is a prevalent theme throughout all literature. In which ways do we find this theme apparent in the lives of Bigger, Mary and Bessie? ||
 * Feminist || ● Indentify the subservient roles Mrs. Thomas, Mrs. Dalton, Mary, Bessie and Peggy played to men in this novel. Do you think the females were comfortable with their dependency to these male characters? Were they aware or oblivious to their dependency or servitude? ||
 * Marxist || ● Bigger possesses deep seeded anger for himself and the world around him. Is Bigger responsible for his dismal outlook on life or is he a victim of his environment or society? ||
 * Deconstructionist || ● According to the societal setting of the novel, the white race sits in a place of dominance and power. In what ways do the black characters usurp the authority of their white counterparts? In what ways does white society become the weaker race in power and intellect in this novel? ||
 * Reader response || ● Consider the well-meaning attempt of Mary and Jan to befriend Bigger. Even though sincere, there efforts to help him only further hindered his situation. Have you ever tried to help in a situation and found you only further damaged it? If so, explain. ||
 * New Historical || ● Research laws on segregation and race relations in Chicago at the time the novel takes place. Do any of these laws and social mores contribute to the actions Bigger took before and after the death of Mary Dalton? ||

3. **Poetry Lesson**

In order to bridge students’ past love of poetry to their current re-introduction to poetry, I will utilize Julia McNamee’s suggestion of the nursery rhyme. I will use nursery rhymes to familiarize the students with the elements of poetry and address lyrical value. Once the class has a working understanding of the elements, we will dive into a lesson focused on lyrics. In this lesson, the class will learn rhyme, meter, refrain, images, figures, and symbols.

I will introduce the professional and personal background of the rapper Tupac Shakur. We will discuss the time in which he lived and the influences that shaped his lyrical craft. I will play the complete song “Keep Your Head Up” by Tupac Shakur and provide the printed lyrics of the song to the class. Since the song’s musical hook is taken from different song, I will introduce the additiona literary term of intertexuality. This will further build on their initial poetic elements learned with the nursery rhymes.
 * // Whole class //**

Once the class has heard the song with music and lyrics, I will play to song to the class without its musical accompaniment two to three times. Before doing so, I will instruct them to focus on the lyrics’ formal features and elements. I will direct them to identify the elements we have covered with the nursery rhymes. I will request the identification of at least five different elements we have covered.
 * // Individuals //**

Once they have executed the task, we will hold an open discussion on their findings. We will also bridge their findings to other songs they know in the discussion. This will help them to think critically by association.

Students will bring in the clean-version of their favorite song and give them to me at the beginning of class. I will break the students into small groups and place one of the songs in each group. As a group, they will dissect the lyrics, locating the elements we have covered.
 * // Small Groups //**

Each group will present their findings to the class.
 * // Whole Class //**

Students will select another song they like and locate the elements we have covered within the lyrics. Each student will present their findings to the class with visual aides. They will explain if the song of their choice has poetic value or not.
 * // Individuals //**